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首页> 外文学位 >Compositional process in Dallapiccola's 'Ulisse': A survey and analysis of new findings in the Dallapiccola Archive, Florence, Italy.
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Compositional process in Dallapiccola's 'Ulisse': A survey and analysis of new findings in the Dallapiccola Archive, Florence, Italy.

机译：Dallapiccola的“ Ulisse”中的组成过程：对意大利佛罗伦萨Dallapiccola档案馆中新发现的调查和分析。

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摘要

uigi Dallapiccola (1904-1975) was one of Italy's greatest 20th-century composers. Ulisse, his last opera and his largest work, marks the summit of his career. Based on a twelve-tone row, Ulisse features the cantabile vocal style which had become Dallapiccola's trademark. The libretto, by the composer, fuses interpretations of the Ulysses figure not only as it is found in Homer, but also--and especially--in Dante to create a unique 20th-century vision of the legendary hero.;The composer's sketches for Ulisse are preserved in the Dallapiccola Archive in Florence, Italy. They include the earliest attempts at the formation of the twelve-tone row used in the opera, as well as the sketches and drafts for each of the thirteen scenes. From the precise way these sketches are notated and preserved, we can see the systematic and thorough way the composer worked, and can trace the evolution of his ideas as he progressed from earliest to latest stages in the composition of the opera.;From the sketches we can determine four phases in the development of the opera: the pre-compositional stage of row-formation, and three compositional phases: early, developing and mature. The early phase of composition contains brief melodic and rhythmic ideas, while the developing phase extends and manipulates compositional material. The mature phase consists of corrections and final revisions.;The sketches for the twelve-tone row indicate that the composer had developed a type of interval-structure that provided for vertical as well as linear development of pitch material. There is a high degree of correspondence between this interval-structure in its earliest stage and in the later and final stages of the row, and between it and the pitch material of the completed opera. Chapter Three examines this correspondence.;To trace the composer's process of text-setting, Chapter Four surveys the changes the composer made in one line of text extracted from the opera, from early to late stages.;On the last page of the sketches for the final section of the opera, the composer notated an arpeggiated series of fourths. A discussion of this series in Chapter Five suggests it may be of interest in future studies of the opera. (Author wrote two dissertations for his Ph.D. degree. See also UMI pub.
机译：uigi Dallapiccola（1904-1975）是意大利20世纪最伟大的作曲家之一。乌里塞，他的最后一部歌剧和他最大的作品，标志着他职业生涯的顶峰。 Ulisse以十二音排为基础，具有令人愉悦的人声风格，这已成为Dallapiccola的商标。作曲家的随想录不仅融合了在荷马史诗中对尤利西斯人形象的诠释，而且还融合了但丁尤其是在但丁创造的关于这位传奇英雄的20世纪独特景象。 Ulisse保存在意大利佛罗伦萨的Dallapiccola档案中。它们包括最早尝试在歌剧中使用的十二音排的形成，以及针对十三种场景的草图和草图的尝试。从这些草图的注释和保存的精确方式，我们可以看到作曲家的系统而透彻的工作方式，并且可以追溯他的构想从最早的歌剧发展到最新阶段的思想演变。我们可以确定歌剧发展的四个阶段：排行形成的预构阶段和三个构图阶段：早期，发展和成熟。作曲的早期包含简短的旋律和节奏概念，而发展阶段则扩展并操纵作曲材料。成熟阶段包括更正和最终修订。十二音行的草图表明，作曲家已经开发出一种音调材料，可以提供垂直和线性展开的间隔结构。该间隔结构在其最早阶段，该行的后期和最后阶段之间以及与完成的歌剧的音高材料之间具有高度的对应性。第三章研究了这种对应关系。为了追踪作曲家的文本设置过程，第四章对作曲家从歌剧中提取的一行文本从早期到后期的变化进行了调查。在歌剧的最后部分，作曲家标注了一系列的四分音符。在第五章中对该系列的讨论表明，它可能会在歌剧的未来研究中引起人们的兴趣。 （作者为他的博士学位写了两篇论文。另请参见UMI pub。

著录项

  • 作者

    Biondi, Michael Paul.;

  • 作者单位

    City University of New York.;

  • 授予单位 City University of New York.;
  • 学科 Music.;Classical literature.
  • 学位 Ph.D.
  • 年度 1994
  • 页码 93 p.
  • 总页数 93
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

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