Portfolio of Compositions and Thesis

Show simple item record

dc.contributor.advisor de Castro-Robinson, E en
dc.contributor.author Golovin, Boris en
dc.date.accessioned 2019-01-28T21:26:53Z en
dc.date.issued 2018 en
dc.identifier.uri http://hdl.handle.net/2292/45123 en
dc.description Full Text is available to authenticated members of The University of Auckland only. en
dc.description.abstract The purpose of this study is to analyse the approaches to melodic organization of Debussy, Stravinsky and Schoenberg with reference to specific music scores and literature on Modernism in general. My special interest in the above-mentioned composers is based on the aesthetic significance widely attributed to Modernism which emerged out of far-reaching transformations in Western society in the late nineteenth and early twentieth centuries. Those transformations influenced the development of musical innovation - not only across Europe, but throughout the world - and clearly revealed new radical approaches in harmonic and rhythmic formation that critically affected melody. The milestones of that movement were Debussy's revolutionary review of harmonic function, Stravinsky's departure from classical metrical rhythm and Schoenberg's rejection of tonality. Metaphorically, melody found itself in a modified environment of ambiguous dimensions, unclear tonal centres, extended chromaticism, overloaded functional and nonfunctional progressions (for example, nonfunctional use of 7th and 9th chords), fragmentary melodies and parallel voice leading (parallel harmony). I put forward a hypothesis that such qualitative changes in approach to harmony partially deprived melody of its previous preeminence and, at the same time (paradoxical as it may seem) extended its functionality analogous to the way the first violin in a string quartet of the twentieth century lost its leading role and was equated with other instruments in the ensemble. My goal, then, is to analyze how Debussy, Stravinsky and Schoenberg used their various and diverse compositional skills in order to achieve the above-mentioned extension in functionality of melody. en
dc.publisher ResearchSpace@Auckland en
dc.relation.ispartof Masters Thesis - University of Auckland en
dc.relation.isreferencedby UoA99265125213502091 en
dc.rights Items in ResearchSpace are protected by copyright, with all rights reserved, unless otherwise indicated. Previously published items are made available in accordance with the copyright policy of the publisher. en
dc.rights Restricted Item. Full Text is available to authenticated members of The University of Auckland only. en
dc.rights.uri https://researchspace.auckland.ac.nz/docs/uoa-docs/rights.htm en
dc.rights.uri http://creativecommons.org/licenses/by-nc-nd/3.0/nz/ en
dc.title Portfolio of Compositions and Thesis en
dc.type Thesis en
thesis.degree.discipline Music en
thesis.degree.grantor The University of Auckland en
thesis.degree.level Masters en
dc.rights.holder Copyright: The author en
pubs.elements-id 760248 en
pubs.record-created-at-source-date 2019-01-29 en

Files in this item

Find Full text

This item appears in the following Collection(s)

Show simple item record


Search ResearchSpace