Wang, Xinyang
(2022)
STRUCTURAL ASPECTS OF UNSUK CHIN’S VIOLIN CONCERTO NO. 1, AND GAN-JIANG, MO-YE FOR ORCHESTRA.
Doctoral Dissertation, University of Pittsburgh.
(Unpublished)
Abstract
Previous scholarly work on Unsuk Chin’s music has focused on significant rhythmic features and her various influences such as Gamelan music. In this study, Unsuk Chin’s first Violin Concerto is approached from a structural perspective. A concept of five-ness (sixteenth-note quintuplets, five-beat meters in significant phrases, the five-stage musical form, intervals of fifths in pitch and harmony, and other five-nesses) underlies the Violin Concerto and determines the musical form, particularly in the first movement. Moreover, the Violin Concerto features unconventional interactions between the solo violin and orchestra, and those interactions shape each movement’s continuous yet varied construction. According to Chin, the solo violin is a “primus inter pares,” an inseparable constituent of the entire orchestra intricately emphasized or articulated. Interactive mechanisms, along with salient features, shape the first movement into a five-section entity and have structural and sonic consequences for the following three movements. Detailed analysis of each section of the first movement provides a panoramic view and allows retrospective discussion in analyzing the following movements where gestures similar to those of Movement I occur. Analysis of rhythm, pitch, harmony, sonority, and orchestration are integrated into this study, providing a structural overview of this substantial work.
My original composition, Gan-Jiang, Mo-Ye for large orchestra, is the last piece of the “Rhèn” trilogy, with each of the three pieces having more expansive instrumentation than the former (a double concerto for two violins and strings, a sinfonietta for large string orchestra, and this composition for large orchestra). An intricate narrative goes hand in hand with complex poetic sentiment of the Gan-Jiang Mo-Ye story and, compared to the previous compositions, shapes a more dynamic, structured, and personal language. The distant ancient fantasies take on a musical rendition in which they remain suspended and unresolved.
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Details
| Item Type: |
University of Pittsburgh ETD
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| Status: |
Unpublished |
| Creators/Authors: |
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| ETD Committee: |
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| Date: |
13 August 2022 |
| Date Type: |
Publication |
| Defense Date: |
19 April 2022 |
| Approval Date: |
4 December 2024 |
| Submission Date: |
22 July 2022 |
| Access Restriction: |
No restriction; Release the ETD for access worldwide immediately. |
| Number of Pages: |
143 |
| Institution: |
University of Pittsburgh |
| Schools and Programs: |
Dietrich School of Arts and Sciences > Music |
| Degree: |
PhD - Doctor of Philosophy |
| Thesis Type: |
Doctoral Dissertation |
| Refereed: |
Yes |
| Uncontrolled Keywords: |
Contemporary Orchestral Music |
| Date Deposited: |
04 Dec 2024 16:53 |
| Last Modified: |
04 Dec 2024 18:00 |
| URI: |
http://d-scholarship.pitt.edu/id/eprint/43352 |
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