Zack Browning and the compositional process in blockhouse, double shot, and sole injection

Kim, Sunjin

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https://hdl.handle.net/2142/24031 Copy

Description

Title

Zack Browning and the compositional process in blockhouse, double shot, and sole injection

Author(s)

Kim, Sunjin

Issue Date

2011-05-25T15:03:10Z

Director of Research (if dissertation) or Advisor (if thesis)

Browning, Zack D.

Doctoral Committee Chair(s)

Moersch, Charlotte Mattax

Committee Member(s)

• Browning, Zack D.
• Ganatra, Simin
• Ward, Thomas R.

Department of Study

Music

Discipline

Music

Degree Granting Institution

University of Illinois at Urbana-Champaign

Degree Name

A.Mus.D.

Degree Level

Dissertation

Keyword(s)

• Zack Browning
• Blockhouse
• Double Shot
• Sole Injection
• Magic Square
• musical ideas
• patterns
• compositional techniques
• compositional process
• violin
• composition
• computer music
• contemporary music
• algorithmic composition
• Planetary Squares
• piano
• cello
• piano trio

Abstract

This is the first study to focus exclusively on three compositions that include the violin by American composer, Zack Browning. The three compositions examined in this study are Blockhouse (2006), Double Shot (2000) and Sole Injection (1996). Browning has been continued an important figure in the development of contemporary music. The objective of this study is to familiarize performers and audiences with the three compositions by Browning. This study is divided into five chapters. Chapter One includes a brief biographical sketch and a personal profile, as well as an overview of Browning’s compositional career. Chapters Two, Three, and Four present and in-depth analysis of the three compositions by Browning that feature the violin: Blockhouse (2006) for violin, cello, and piano (Chapter Two); Double Shot (2000) for violin and piano (Chapter Three); and Sole Injection (1996) for violin and computer- generated sounds (Chapter Four). Each of these chapters is divided into three parts. The first part presents background information for each composition and provides a brief explanation of the magic square that is used in each composition. In Part Two, Browning’s unique musical language based on his use of magic squares as a compositional determinant, is examined. Part Three focuses on the musical ideas used in the compositions and the assignment of these ideas to instrumental groupings and the use of pattern structures in each piece. In addition, the third part explores Browning’s progressive layering techniques and how they interact with his musical ideas and structural patterns. Chapter Five serves as a conclusion and summarizes the analytical findings.

Graduation Semester

2011-05

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http://hdl.handle.net/2142/24031

Copyright and License Information

Copyright 2011 SUNJIN KIM

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