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dc.contributor.advisor Applebaum, Edward
dc.creatorRosenthal, Aaron Elliot
dc.date.accessioned 2009-06-04T06:53:31Z
dc.date.available 2009-06-04T06:53:31Z
dc.date.issued 2000
dc.identifier.urihttps://hdl.handle.net/1911/17373
dc.description.abstract Dual Origins is a through-composed poem for orchestra, which addresses a series of oppositions and extreme contrasts. Among these contrasts are the dynamic (loud vs. soft) and registral (high vs. low) extremes of the orchestra, the ensemble's varying timbres (strings, winds, and percussion), the music's degrees of dissonance and consonance, and the existence of a tonal center versus what's commonly referred to as tonal ambiguity. The majority of the musical material is derived from the simple whole-step motive that opens the piece, and in the absence of any traditional formal structure, this motivic unity creates an alternate type of cohesion that serves as the glue between the individual sections. The last of these sections is a climactic conclusion, at which point the piece's various conflicts have all found either compromise or conquest.
dc.format.extent 17 p.
dc.format.mimetype application/pdf
dc.language.iso eng
dc.subjectMusic
dc.title Dual Origins
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 Rosenthal, Aaron Elliot. "Dual Origins." (2000) Master’s Thesis, Rice University. https://hdl.handle.net/1911/17373.


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