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Genre/Form: | Academic theses |
---|---|
Named Person: | Julius Eastman; Julius Eastman |
Material Type: | Document, Thesis/dissertation, Internet resource |
Document Type: | Internet Resource, Computer File |
All Authors / Contributors: |
Andrew Hanson-Dvoracek; Marian Wilson Kimber; William Gibbons; University of Iowa. School of Music. |
OCLC Number: | 771122927 |
Notes: | Thesis supervisor: Marian Wilson Kimber. Thesis supervisor: William Gibbons. |
Description: | x, 102 pages : music |
Details: | Mode of access: World Wide Web.; System requirements: Adobe Reader. |
Responsibility: | by Andrew Hanson-Dvoracek. |
Abstract:
A viable analytical framework for Eastman's works draws from the techniques of earlier minimalist theorists, including John Roeder's adaptation of set theory. Crazy Nigger, the earliest and longest of the three works, provides to be the least complex example of Eastman's "vertically additive process." Whereas composer Philip Glass extends an original melodic kernel by adding notes horizontally, Eastman adds notes vertically to create increasingly dense textures. Evil Nigger 's use of the process is more complicated, introducing additional elements such as ostinati and de-emphasizing the kind of sectional form found in Crazy Nigger . In Gay Guerilla, the last of the three works to be composed, Eastman totally obscured any salient perception of form by eliding several simultaneous occurrences of the vertically additive process and introducing a quotation of the Lutheran chorale "Ein feste Burg." With these three analysis, a more generalized concept of Eastman's compositional style thus consists of his vertically additive process, the introduction of modernist harmony into minimalist technique, the use of hendecachords (11-note sets), a gradual dissolution with the sectional form dominant in concert-length minimalist works, and a move away from post-modernity that Eastman termed "organic music."
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