Persistent Link:
http://hdl.handle.net/10150/252895
Title:
Christopher in the Desert
Author:
Kim, Jung-Wook
Issue Date:
1999
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:
The title of this composition "Christopher in the Desert" was stipulated after the nickname of the student residence of the University of Arizona, "Christopher City," where I have stayed during my study at the school. It also represents the geographical environments of the city of Tucson, Arizona. The orchestration for this composition is considerably conventional which is consist of paired winds with solo English horn and tuba, five part strings, and timpani. Frequently, solos and solo ensembles are employed intentionally to build a differentiated atmosphere from the forceful orchestra, The characteristically effective instrumentation of Claude Debussy (1862--1918), and Bela Bartok's (1881--1945) interest informal dimensions and developmental procedures of his own compositional style influenced this work. To organize this three movement composition in a symmetrical attitude, the first and third movement share several common components, especially pitch layouts, while the second movement keeps the most independent and distinctive flowing demeanor. The pitch materials interact both in horizontal and vertical orientations, and the directions and contours of the melodic lines are cautiously controlled to develop and extend the possibilities in the circumstance of unity of the entire piece. Harmonically, quintal and quartal chords are frequently employed in several points to slacken the tensions which have been built, while pentatonic scale-oriented harmonies dominate the harmonic realms of the composition.
Type:
text; Dissertation-Reproduction (electronic)
Keywords:
Music.
Degree Name:
D.M.A.
Degree Level:
doctoral
Degree Program:
Graduate College; Music and Dance
Degree Grantor:
University of Arizona
Advisor:
Asia, Daniel
Committee Chair:
Asia, Daniel

Full metadata record

DC FieldValue Language
dc.language.isoenen_US
dc.titleChristopher in the Deserten_US
dc.creatorKim, Jung-Wooken_US
dc.contributor.authorKim, Jung-Wooken_US
dc.date.issued1999-
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.abstractThe title of this composition "Christopher in the Desert" was stipulated after the nickname of the student residence of the University of Arizona, "Christopher City," where I have stayed during my study at the school. It also represents the geographical environments of the city of Tucson, Arizona. The orchestration for this composition is considerably conventional which is consist of paired winds with solo English horn and tuba, five part strings, and timpani. Frequently, solos and solo ensembles are employed intentionally to build a differentiated atmosphere from the forceful orchestra, The characteristically effective instrumentation of Claude Debussy (1862--1918), and Bela Bartok's (1881--1945) interest informal dimensions and developmental procedures of his own compositional style influenced this work. To organize this three movement composition in a symmetrical attitude, the first and third movement share several common components, especially pitch layouts, while the second movement keeps the most independent and distinctive flowing demeanor. The pitch materials interact both in horizontal and vertical orientations, and the directions and contours of the melodic lines are cautiously controlled to develop and extend the possibilities in the circumstance of unity of the entire piece. Harmonically, quintal and quartal chords are frequently employed in several points to slacken the tensions which have been built, while pentatonic scale-oriented harmonies dominate the harmonic realms of the composition.en_US
dc.typetexten_US
dc.typeDissertation-Reproduction (electronic)en_US
dc.subjectMusic.en_US
thesis.degree.nameD.M.A.en_US
thesis.degree.leveldoctoralen_US
thesis.degree.disciplineGraduate Collegeen_US
thesis.degree.disciplineMusic and Danceen_US
thesis.degree.grantorUniversity of Arizonaen_US
dc.contributor.advisorAsia, Danielen_US
dc.contributor.chairAsia, Danielen_US
dc.contributor.committeememberAsia, Danielen_US
dc.contributor.committeememberDecker, Pamelaen_US
dc.contributor.committeememberShowell, Jeffreyen_US
dc.identifier.proquest9927463-
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