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Morton Feldman's For Samuel Beckett: The Semiotics of Musical Time and I Meet You. I Remember You. (An Original Composition for Violin and Orchestra.)

Matthews, David Gerard (2011) Morton Feldman's For Samuel Beckett: The Semiotics of Musical Time and I Meet You. I Remember You. (An Original Composition for Violin and Orchestra.). Doctoral Dissertation, University of Pittsburgh.

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    Abstract

    In For Samuel Beckett, for twenty-three players, Feldman creates a seemingly static surface of sound lasting nearly an hour that challenges the listener's perception of time and explores musical memory. The fact that Feldman's work does not conform to received notions of organic development creates unique challenges in musical analysis. The present study attempts to put to use some concepts of difference and repetition derived from the French philosopher and cultural theorist Gilles Deleuze in order to create an appropriate model for the analysis of non-teleological music. This study notes the role of notation and the graphic layout of the score, arguing that the visual presentation of the score is an important aspect of the work.The original composition, i meet you. i remember you., for violin and chamber orchestra, also explores ideas of non-linear temporality and difference and repetition. The piece further explores the non-organic model-repetition strategy employed by Feldman, but does so in a completely different musical context. This work also reflects my interest in microtonality, in heterophony, and in engaging with popular music.


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    Item Type: University of Pittsburgh ETD
    ETD Committee:
    ETD Committee TypeCommittee MemberEmailORCID
    Committee ChairRosenblum, Mathewrosenblu@pitt.edu
    Committee MemberMoe, Ericemoe@pitt.edu
    Committee MemberLandy, Marciamlandy@pitt.edu
    Committee MemberLewis, Mary Slsm@pitt.edu
    Title: Morton Feldman's For Samuel Beckett: The Semiotics of Musical Time and I Meet You. I Remember You. (An Original Composition for Violin and Orchestra.)
    Status: Unpublished
    Abstract: In For Samuel Beckett, for twenty-three players, Feldman creates a seemingly static surface of sound lasting nearly an hour that challenges the listener's perception of time and explores musical memory. The fact that Feldman's work does not conform to received notions of organic development creates unique challenges in musical analysis. The present study attempts to put to use some concepts of difference and repetition derived from the French philosopher and cultural theorist Gilles Deleuze in order to create an appropriate model for the analysis of non-teleological music. This study notes the role of notation and the graphic layout of the score, arguing that the visual presentation of the score is an important aspect of the work.The original composition, i meet you. i remember you., for violin and chamber orchestra, also explores ideas of non-linear temporality and difference and repetition. The piece further explores the non-organic model-repetition strategy employed by Feldman, but does so in a completely different musical context. This work also reflects my interest in microtonality, in heterophony, and in engaging with popular music.
    Date: 30 June 2011
    Date Type: Completion
    Defense Date: 11 March 2011
    Approval Date: 30 June 2011
    Submission Date: 21 April 2011
    Access Restriction: 5 year -- Restrict access to University of Pittsburgh for a period of 5 years.
    Patent pending: No
    Institution: University of Pittsburgh
    Thesis Type: Doctoral Dissertation
    Refereed: Yes
    Degree: PhD - Doctor of Philosophy
    URN: etd-04212011-115213
    Uncontrolled Keywords: For Samuel Beckett; Gilles Deleuze; Morton Feldman; musical semiotics; time in music
    Schools and Programs: Dietrich School of Arts and Sciences > Music
    Date Deposited: 10 Nov 2011 14:40
    Last Modified: 29 May 2012 15:47
    Other ID: http://etd.library.pitt.edu/ETD/available/etd-04212011-115213/, etd-04212011-115213

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