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dc.contributor.advisor Burt, George
dc.creatorKoh, Tse-Ying
dc.date.accessioned 2009-06-04T00:37:32Z
dc.date.available 2009-06-04T00:37:32Z
dc.date.issued 1995
dc.identifier.urihttps://hdl.handle.net/1911/13965
dc.description.abstract Premiered by the Boston Symphony Orchestra on December 6, 1957, Sessions' Third Symphony was the first of his orchestral works to employ twelve-tone procedures. But while expressing the harmonic and melodic vocabulary of a twentieth-century non-tonal composer, Sessions also demonstrates an allegiance to classical tradition by employing classical forms and devices. The first and last movements approach a classic sonata form, the second movement is akin to a minuet or scherzo and trio, while the third consists of a theme and two variations. By integrating twelve-tone principles with traditional procedures, Sessions created a work that not only penetrated the future (of his time) but also paid homage to the past.
dc.format.extent 79 p.
dc.format.mimetype application/pdf
dc.language.iso eng
dc.subjectMusic
dc.title The twelve-tone method and the classical tradition in Roger Session's Symphony No. 3
dc.type.genre Thesis
dc.type.material Text
thesis.degree.department Music
thesis.degree.discipline Music
thesis.degree.grantor Rice University
thesis.degree.level Masters
thesis.degree.name Master of Music
dc.identifier.citation Koh, Tse-Ying. "The twelve-tone method and the classical tradition in Roger Session's Symphony No. 3." (1995) Master’s Thesis, Rice University. https://hdl.handle.net/1911/13965.


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