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Title:A polyphony of the mind: intertextuality in the music of Salvatore Sciarrino
Author(s):Bunch, James Denis
Director of Research:Lund, Erik
Doctoral Committee Chair(s):Lund, Erik
Doctoral Committee Member(s):Taylor, Stephen A; Browning, Zack; Kinderman, William
Department / Program:Music
Discipline:Music
Degree Granting Institution:University of Illinois at Urbana-Champaign
Degree:A.Mus.D.
Genre:Dissertation
Subject(s):Salvatore Sciarrino
Intertextuality
Poststructuralism
Off-modern
Contemporary classical music
Avant garde
Reflective nostalgia
Misprision
Musique Concrète Instrumentale
Structuralism
Serialism
Naturalism
Postmodernism
Phonematic devices
Julia Kristeva
Roland Barthes
Circular memories
Formalism
Music composition
Semiotics
New Musicology
Topic theory
Anamorphosis
Sei quartetti brevi
Efebo con radio
Music history
Musicology
Music analysis
Darmstadt School
Structural organicism
Process
Hyperrealism
Simulacrum
Modernity
Double
Lucio Fontana
Alberto Burri
Spatialism
Charles Sanders Peirce
Robert Hatten
Raymond Monelle
Melancholy, Melancolia, Nostalgia
Fragments
Musical quotation
Close reading
Ungrammaticality
Distortion
Abstract:This dissertation examines the work of the Italian composer Salvatore Sciarrino (b. 1947), attempting to find a pathway for analysis that can address both its apparent structural simplicity, and its equally apparent intertextual nature. The first chapter demonstrates that typical methods of structuralist (i.e., formalist / harmonicist) analysis fail to engage with what is most pertinent in Sciarrino’s compositional language. It does this by showing how three different kinds of music that the composer writes, problematize such analysis, concluding that a poststructural alternative that is both semiotically-inflected and intertextual, is necessary. The second chapter explores how such an analysis might be constructed. It examines definitions of structuralism (both Sciarrino's, and the more generally- acknowledged definitions of literary theory and musicology), as well as the influence of poststructural semiotics on the so-called "New Musicology." The third chapter acts as a broad and thorough introduction to Sciarrino’s general aesthetic principles and approach to musical material. The fourth and final chapter begins by setting forth a model for intertextual analysis that combines Peircean semiotics, poststructuralist literary theory, and the topic theory of Robert Hatten and Raymond Monelle, and applies it to two works that embody contrasting types of intertextuality in Sciarrino’s oeuvre: Sei Quartetti Brevi, and Efebo con Radio. This pathway into the music, though somewhat unwieldy, enables us to go beyond superficial observations of Sciarrino’s aesthetic and to see how it constitutes a critique of both structural "systematicity" and indeterminacy. It offers an important alternative route through musical Modernity, one that rejects an aestheticized Hegelian dialectical understanding of (music) history. In the end, Sciarrino is shown to be not a structuralist or a poststructuralist, but, in the words of Svetlana Boym, an "Off-Modern" composer.
Issue Date:2016-04-19
Type:Thesis
URI:http://hdl.handle.net/2142/90482
Rights Information:Copyright 2016 James Dennis Bunch Jr.
Date Available in IDEALS:2016-07-07
Date Deposited:2016-05


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