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McManus, James Michael 2014-12-16T04:13:16Z 2014-12-16T04:13:16Z 10000-01-01 1988 1988 This paper investigated links between surface and deep structures in Elliott Carter's 1980 piece for solo piano, Night Fantasies. A specific harmonic structure, comprised of 12-note all-interval chords, was described in detail. At the same time, the rhetoric of the music's surface was investigated, and the roles of fast and slow layers of music in effecting a background/foreground shift were discussed. Carter's ideas about serialism were reviewed in order to understand the composer's own aesthetic in the application of abstract ordering systems. The investigation concludes that neither rhetoric nor the harmonic deep structure dominates the other; rather, the interaction of the rhetorical surface and the deep structure was found to be the essential characterizing feature of the piece. Made available in DSpace on 2014-12-16T04:13:16Z (GMT). No. of bitstreams: 1 8908775.pdf: 5156597 bytes, checksum: dbf79721b15d446d802ff452d8514acb (MD5) Previous issue date: 1988 Embargo set by: Seth Robbins for item 71036 Lift date: Forever Reason: Restricted to the U of I community idenfinitely during batch ingest of legacy ETDs Restricted to the U of I community idenfinitely during batch ingest of legacy ETDs U of I Only 125 p. Thesis (D.M.A.)--University of Illinois at Urbana-Champaign, 1988. http://hdl.handle.net/2142/70870 (UMI)AAI8908775 Music Rhetoric and Resistance in the Music of Elliott Carter text Music Music University of Illinois at Urbana-Champaign Dissertation D.M.A.