Kompozicijska teorija Miltona Babbitta i analiza "Triju skladbi za klavir" (1947.)

master's thesis

• Author: Ana Rebrina
• Mentor: Sanja Kiš Žuvela (mentor)
• Granter: University of Zagreb; Academy of Music; (Composition and Music Theory Department); Zagreb
• Defense date and country: 2018-07-03, Croatia
• Scientific / art field, discipline and subdiscipline: FIELD OF ART; Art of Music
• Scientific / art field, discipline and subdiscipline: HUMANISTIC SCIENCES; Art Sciences; Musicology and Ethnomusicology

Abstract

Kompozicijska teorija Miltona Babbitta oslanja se na Schönbergove i Webernove postupke te ih proširuje na organizaciju svih parametara glazbe. Korijeni svih inovacija koje je predstavio kroz svoje dugo stvaralaštvo vidljivi su već u ranom opusu. Neke od inovacija predstavljene su u analizi Triju skladbi za klavir [Three Compositions for Piano], a uključuju teoriju o svekombinatornim heksakordima, predsređivanje građe materijala u potki, organizaciju ritma i ostalih parametara. Prva od Triju skladbi za klavir često se spominje u literaturi, više je puta analizirana i često se uzima kao primjer za Babbittove uobičajene kompozicijske postupke. To nije slučaj s drugim dvjema skladbama, o kojima se gotovo uopće nije pisalo. Formalno-tehnička analiza otkriva povezanost i artikulaciju materijala u svakoj skladbi posebno, ali i na razini trostavačne cjeline. Osim materijala i načina njegova predsređenja ova analiza ispituje i druge, slušno prepoznatljive elemente i nastoji ih povezati s formom svake od triju skladbi.

Abstract (english)

Milton Babbitt's compositional theory is mostly infuenced by Schoenberg's and Webern's combinatorial techniques. Babbitt expanded their application to several other parameters of music. The roots of all innovations that he presented throughout his long opus can be recognised already in his early compositions. Some of the innovations are presented in this analysis of Three Compositions for Piano: the theory of all-combinatorial hexachords, preorganization of material into arrays, organization of rhythm and other parameters. The first of Three Compositions for Piano was often the subject of analyses and other writings, and it is used as an example of Babbitt's typical compositional procedures. This was not the case with other two compositions, which are rarely mentioned in scholarly papers. The present technical analysis discovers connections within each composition and within the three compositions as a cyclic work. Apart from the material and its organization, this analysis also examines other, aurally recognizable elements and attempts to connect them with the formal features of each of the three compositions.

• Keywords: Milton Babbitt; Tri skladbe za klavir; dodekafonija; serijalna glazba; analiza; percepcija serijalne glazbe
• Keywords (english): Milton Babbitt; Three Compositions for Piano; dodecaphony; total serialism; analysis; perception of serial music
• Language: croatian
• URN:NBN: urn:nbn:hr:116:652754
• Study programme: Title: Integrated Undegraduate and Graduate University Study Programme in Music Theory; Study programme type: university; Study level: integrated undergraduate and graduate; Academic / professional title: magistar/magistra muzike (magistar/magistra muzike)
• Type of resource: Text
• File origin: Born digital
• Access conditions: Open access
• Created on: 2018-10-19 07:35:02