Doctor of Philosophy (PhD)



Document Type



ABSTRACT The first part of this dissertation is an original opera, Julie, composed on a libretto by Julia Carey. The opera consists of a prologue, 4 acts, and an epilogue, with an instrumentation of (2-2-2-2, 4-3-3-1, timpani, 3 percussion, harp and strings). The style is pluralistic and is determined at any moment by the demands of the text. The Prologue is an instrumental section of about 4’30” and introduces the primary themes employed in the opera. The music employs a simple leitmotiv system, associating certain themes and instruments to particular characters and emotional states. Additionally, though themes are recycled and developed throughout, the opera is through composed, and though there exist clear cadences at the end of each act, the music continues attacca, without stopping between acts. The second part of the dissertation is an analysis of the first movement of Copland’s Third Symphony and studies the relationship of the entire movement to the pitch space, perfect fourths and perfect fifths, and registral juxtapositions of the opening material of the movement. Chapter one introduces and clarifies various terms and how I will employ them in the document, as well as identifies and discusses other theorists who have written relevant studies of Copland’s music. Chapter two offers historical context of the music, composers and social conditions preceding and precipitating Copland’s creation of the Third Symphony. Chapter three is an analysis of the 1st movement of the symphony. The opening material (about 9 measures) is analyzed for quartal content, width of pitch spaces, and juxtaposition of registers and timbres. The remaining analysis refers back to these opening musical statements, identifying ways in which Copland has fragmented, condensed, expanded, and recycled material to build the entire movement.



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Committee Chair

Constantinides, Dinos



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Music Commons