Persistent Link:
http://hdl.handle.net/10150/196137
Title:
Heimferðin (The Journey Home): Tone Poem for Symphony Orchestra
Author:
Ingimundardottir, Gudrun
Issue Date:
2009
Publisher:
The University of Arizona.
Rights:
Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author.
Abstract:
Composers of the 20th century express through intimate and personal language the conditions of the present, utilizing compositional techniques, forms, pitch and rhythmic language, and characteristics of Western composers, as well as looking towards non- Western music for the same. Each musical language, be it tonal, twelve-tone, modal, pitch-class, or derived from folk and non-Western material, is contained in a structural framework which is audibly recognizable, and controls the musical tapestry, processes, and results. Frequently composers use distinctive musical languages to portray different atmospheres, and thus allow each musical language to dominate the texture in order to create the desired contrast. But, jumping directly from one pitch language to another can create a sense of cacophony and loss of cohesion to the composition as a whole. In my composition I intend to show that by superimposing the structural parameters of one musical language onto another, it is possible to attain consistency and coherence, despite the underlying diversity. The composition is based on the story Heimferðin (The Journey Home) by Sigurður Rúnar Þrastarson (1961-1998). The composition is in five movements: I. Dawn; II. Dance and Devotion; III. Frolic; IV. Fury, V. Farwell. Each movement describes particular settings and events of the story. Internal events have been slightly reordered, but otherwise the composition follows the storyline from beginning to end. The final two minutes and twenty seconds of the composition are an original arrangement of a song, written in 1820, by the Danish composer P. C. Krossing (1793-1838).
Type:
text; Electronic Dissertation
Keywords:
Musical composition; Orchestral score; Symphonic composition; Tone Poem
Degree Name:
D.M.A.
Degree Level:
doctoral
Degree Program:
Music; Graduate College
Degree Grantor:
University of Arizona
Advisor:
Asia, Daniel
Committee Chair:
Asia, Daniel

Full metadata record

DC FieldValue Language
dc.language.isoENen_US
dc.titleHeimferðin (The Journey Home): Tone Poem for Symphony Orchestraen_US
dc.creatorIngimundardottir, Gudrunen_US
dc.contributor.authorIngimundardottir, Gudrunen_US
dc.date.issued2009en_US
dc.publisherThe University of Arizona.en_US
dc.rightsCopyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author.en_US
dc.description.abstractComposers of the 20th century express through intimate and personal language the conditions of the present, utilizing compositional techniques, forms, pitch and rhythmic language, and characteristics of Western composers, as well as looking towards non- Western music for the same. Each musical language, be it tonal, twelve-tone, modal, pitch-class, or derived from folk and non-Western material, is contained in a structural framework which is audibly recognizable, and controls the musical tapestry, processes, and results. Frequently composers use distinctive musical languages to portray different atmospheres, and thus allow each musical language to dominate the texture in order to create the desired contrast. But, jumping directly from one pitch language to another can create a sense of cacophony and loss of cohesion to the composition as a whole. In my composition I intend to show that by superimposing the structural parameters of one musical language onto another, it is possible to attain consistency and coherence, despite the underlying diversity. The composition is based on the story Heimferðin (The Journey Home) by Sigurður Rúnar Þrastarson (1961-1998). The composition is in five movements: I. Dawn; II. Dance and Devotion; III. Frolic; IV. Fury, V. Farwell. Each movement describes particular settings and events of the story. Internal events have been slightly reordered, but otherwise the composition follows the storyline from beginning to end. The final two minutes and twenty seconds of the composition are an original arrangement of a song, written in 1820, by the Danish composer P. C. Krossing (1793-1838).en_US
dc.typetexten_US
dc.typeElectronic Dissertationen_US
dc.subjectMusical compositionen_US
dc.subjectOrchestral scoreen_US
dc.subjectSymphonic compositionen_US
dc.subjectTone Poemen_US
thesis.degree.nameD.M.A.en_US
thesis.degree.leveldoctoralen_US
thesis.degree.disciplineMusicen_US
thesis.degree.disciplineGraduate Collegeen_US
thesis.degree.grantorUniversity of Arizonaen_US
dc.contributor.advisorAsia, Danielen_US
dc.contributor.chairAsia, Danielen_US
dc.contributor.committeememberDecker, Pamelaen_US
dc.contributor.committeememberSturman, Janeten_US
dc.identifier.proquest10288en_US
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