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Issues of meaning and structure in the symphonic poem

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Title
Issues of meaning and structure in the symphonic poem
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Harberg
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Amanda
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1973-
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Amanda Harberg
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author
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Johnson
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Douglas
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Douglas Johnson
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Advisory Committee
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chair
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Aldridge
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Robert
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Robert Aldridge
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Advisory Committee
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co-chair
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Kemper
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Steven
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Steven Kemper
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Advisory Committee
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internal member
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Beaser
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Robert
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Robert Beaser
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Advisory Committee
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outside member
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Rutgers University
Role
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degree grantor
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School of Graduate Studies
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school
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Text
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theses
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2019
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2019-05
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2019
Language
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English
Abstract (type = abstract)
Questions of how composers reconcile the relationship between content and structure when music is based on a non-musical idea have been explored in the genre of the tone poem since Liszt first coined the term “symphonische Dichtung” in 1848. This study explores issues that arise when non-musical content serves as an inspirational touchstone in the genre of the tone poem. Using a combination of traditional analytical tools and ideas from narrative theory, three comparative case studies are presented as a way to explore the interactions between music and three contrasting types of non-musical programs: narrative story, poetry, and painting.
The first two chapters of the study explore the origins of symphonic poems, the historical debate about their structural integrity, and the ways in which narrative theory can be a useful tool with which to understand meaning in the musical form and content of music based on a non-musical program. These introductory chapters are followed by three case studies, each involving a pair of works.
The first case study compares Strauss’s Death and Transfiguration and Tchaikovsky’s Romeo and Juliet, two popular works in which narrative programs are combined with principles of sonata form. Although the traditional form has many parallels to narrative storytelling in its use of oppositional forces, discrepancies between the necessities of musical form and narrative form reveal themselves in each of the examples. In the second case study, interaction between poetry and music is explored in Debussy’s Prélude à l’après-midi d’un faune and in Vaughan Williams’s The Lark Ascending. While issues of narrative are still relevant in these tone poems, they are subordinated to poetic style, symbolism, structure, and alliteration. The final case study investigates issues that arise when painting is used as the non-musical medium. In Dutilleux’s Timbres, espace, mouvement and my own tone poem, Dream of The Sleeping Gypsy, the structural and content-based parallels between the music and the program proved to be the least tangible of the three mediums discussed in the dissertation, due to the subjective nature of our perceptions when viewing painting and the spatial unfolding of painting as opposed to the temporal unfolding of music. Here I focus on the compositional process itself, exploring the psychological and emotional effects of the paintings on the composers as a way to gain deeper insights into connections between the painting and the music.
Subject (authority = RUETD)
Topic
Music
Subject (authority = LCSH)
Topic
Symphonic poem
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Title
Rutgers University Electronic Theses and Dissertations
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ETD
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ETD_9780
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application/pdf
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Extent
1 online resource (xi, 163 pages) : music
Note (type = degree)
Ph.D.
Note (type = bibliography)
Includes bibliographical references
Subject
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NamePart (type = personal)
Strauss, Richard, 1864-1949. -- Tod und Verklärung -- Criticism and interpretation
Subject
Name (authority = LCNAF)
NamePart (type = personal)
Tchaikovsky, Peter Ilich, 1840-1893. -- Romeo et Juliette (Fantasy-overture) -- Criticism and interpretation
Subject
Name (authority = LCNAF)
NamePart (type = personal)
Debussy, Claude, 1862-1918. -- Prélude à l'après-midi d'un faune -- Criticism and interpretation
Subject
Name (authority = LCNAF)
NamePart (type = personal)
Vaughan Williams, Ralph, 1872-1958. -- Lark ascending -- Criticism and interpretation
Subject
Name (authority = LCNAF)
NamePart (type = personal)
Dutilleux, Henri, 1916-2013. -- Timbres, espace, mouvement -- Criticism and interpretation
Subject
Name (authority = LCNAF)
NamePart (type = personal)
Harberg, Amanda. -- The sleeping gypsy -- Criticism and interpretation
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School of Graduate Studies Electronic Theses and Dissertations
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rucore10001600001
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NjNbRU
Identifier (type = doi)
doi:10.7282/t3-2p2t-9469
Genre (authority = ExL-Esploro)
ETD doctoral
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The author owns the copyright to this work.
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Name
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Harberg
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Amanda
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Permission or license
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2019-04-11 10:56:19
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Amanda Harberg
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Rutgers University. School of Graduate Studies
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I hereby grant to the Rutgers University Libraries and to my school the non-exclusive right to archive, reproduce and distribute my thesis or dissertation, in whole or in part, and/or my abstract, in whole or in part, in and from an electronic format, subject to the release date subsequently stipulated in this submittal form and approved by my school. I represent and stipulate that the thesis or dissertation and its abstract are my original work, that they do not infringe or violate any rights of others, and that I make these grants as the sole owner of the rights to my thesis or dissertation and its abstract. I represent that I have obtained written permissions, when necessary, from the owner(s) of each third party copyrighted matter to be included in my thesis or dissertation and will supply copies of such upon request by my school. I acknowledge that RU ETD and my school will not distribute my thesis or dissertation or its abstract if, in their reasonable judgment, they believe all such rights have not been secured. I acknowledge that I retain ownership rights to the copyright of my work. I also retain the right to use all or part of this thesis or dissertation in future works, such as articles or books.
Copyright
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Copyright protected
Availability
Status
Open
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Permission or license
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2019-04-11T11:46:39
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