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UBC Theses and Dissertations
The vocal chamber style of Luigi Dallapiccola from 1942 to 1964 Sauerbrei, Patricia Margaret
Abstract
The following thesis is primarily analytical in nature and deals with four aspects of Dallapiccola's vocal chamber style under the headings: I A Summary of Texture and Orchestration II Formal Considerations III A Study of the Serial Structure IV Text-Setting. Seven song cycles are investigated under each of these areas so that a line of stylistic continuity can be traced from the earliest (1942) through the most recent work studied (1964). The works are: Liriche Greche, Rencesvals, Quattro Liriche di Antonio Machado, Tre Poemi, Goethe-Lieder, Cinque Canti, and Parole di San Paolo. The supposition of continuity is borne out by the examples presented. These show that particularly in the case of formal and serial construction, Dallapiccola chooses a basic pattern or formula (a tri-partite design, a semi-combinatorial series) and creates with it new works with ever-fresh imagination. In his text-setting he is extremely concerned with comprehensibility and expression, for without these he sees little value in the technical means employed. Introducing the topic is a resume of Dallapiccola's musical development up to the time of his adoption of the twelve- tone system. The Conclusion presents evaluations of the composer by various authors, and relates the information given in the body of the thesis to Dallapiccola's personal ideas regarding the function of art.
Item Metadata
Title |
The vocal chamber style of Luigi Dallapiccola from 1942 to 1964
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Creator | |
Publisher |
University of British Columbia
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Date Issued |
1973
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Description |
The following thesis is primarily analytical in nature and deals with four aspects of Dallapiccola's vocal chamber style under the headings:
I A Summary of Texture and Orchestration
II Formal Considerations
III A Study of the Serial Structure
IV Text-Setting.
Seven song cycles are investigated under each of these areas so that a line of stylistic continuity can be traced from the earliest (1942) through the most recent work studied (1964). The works are: Liriche Greche, Rencesvals, Quattro Liriche di Antonio Machado, Tre Poemi, Goethe-Lieder, Cinque Canti, and Parole di San Paolo.
The supposition of continuity is borne out by the examples presented. These show that particularly in the case of formal and serial construction, Dallapiccola chooses a basic pattern or formula (a tri-partite design, a semi-combinatorial series) and creates with it new works with ever-fresh imagination.
In his text-setting he is extremely concerned with comprehensibility and expression, for without these he sees little value in the technical means employed.
Introducing the topic is a resume of Dallapiccola's musical development up to the time of his adoption of the twelve-
tone system. The Conclusion presents evaluations of the composer by various authors, and relates the information given in the body of the thesis to Dallapiccola's personal ideas regarding the function of art.
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Genre | |
Type | |
Language |
eng
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Date Available |
2011-03-21
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Provider |
Vancouver : University of British Columbia Library
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Rights |
For non-commercial purposes only, such as research, private study and education. Additional conditions apply, see Terms of Use https://open.library.ubc.ca/terms_of_use.
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DOI |
10.14288/1.0093117
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URI | |
Degree | |
Program | |
Affiliation | |
Degree Grantor |
University of British Columbia
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Campus | |
Scholarly Level |
Graduate
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Aggregated Source Repository |
DSpace
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Item Media
Item Citations and Data
Rights
For non-commercial purposes only, such as research, private study and education. Additional conditions apply, see Terms of Use https://open.library.ubc.ca/terms_of_use.