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NCUEIR > Publication > 文學院學報 > 第七期 >  Item 987654321/19853

Please use this identifier to cite or link to this item: http://ir.ncue.edu.tw/ir/handle/987654321/19853

Title: The Musical Styles in Zwilich’s Double Quartet for Strings
茲薇莉希雙弦樂四重奏的音樂風格
Authors: Koay, Kheng K.
Contributors: 彰化師範大學文學院
Keywords: Ellen Taaffe Zwilich;Double Quartet for Strings;20th century music
茲薇莉希;雙弦樂四重奏;女性作曲家和二十世紀音樂
Date: 2013-03
Issue Date: 2015-06-15T09:25:38Z
Publisher: 彰化師範大學文學院
Abstract: Ellen Taaffe Zwilich was developing her talent and public acclaim at the same time as Joan Tower, John Corigliano, Philip Glass, Steve Reich, Fred Rzewski and many others. In her compositions, she never avoids musical styles of either the past or of vernacular musical idioms with which she is familiar. Rather, she tries to discover new ways of treating them. Not surprisingly, the listener is familiar with her music through her employment of past musical styles and sonic experiences. This study explores Zwilich’s Double Quartet for Strings (1984), which not only exemplifies the nature of Zwilich’s personal creativity, but also reveals different musical influences on the composer. I shall examine Zwilich’s individual techniques and styles employed in the composition, that are also reflected in many of her other compositions. In order to provide insight into her compositional styles and handling, I will also discuss Bartókian musical traits and Haydn-like humor found in her composition. The significance of the Double Quartet also lies in Zwilich’s strategy in manipulating musical texture. At times, one is reminded of minimalist texture. In the composition, unity is perceived through thematic and motivic connections. Both themes and motives are used as building material to expand new musical ideas. All these musical treatments are accustomed to ears. It is not surprising that her music brought her to the notice of the wider concert-going and listening public.
茲薇莉希(Ellen Taaffe Zwilich)與陶瓦(Joan Tower)、柯里力亞諾(John Corigliano)、葛拉斯(Philip Glass)、萊希(Steve Reich)和列夫斯基(Fred Rzewski)等作曲家在相同的時期出名。在她的作曲生涯中,她使用過去和美國本土的音樂風格,並且用一種新的方式使用這些素材,而令人驚訝的是聽眾透過她使用過去素材的音樂風格和聽覺經驗更能熟悉她的音樂。本文以茲薇莉希的雙弦樂四重奏(1984)為例子不只是因為此作品具有她成熟的個人創造力,而且可以從中看到其他作曲家的影響力,本文將以此作品探討茲薇莉希的獨特創作手法和風格,而這些特色也反映在她其他的作品中,為了深入了解她的作曲風格和創作手法,本文還會以此討論巴爾托克的音樂特徵、海頓般的幽默創作方式和極簡主義。在茲薇莉希的雙弦樂四重奏中,可以看到主題和動機貫穿全曲,作曲家以此為建構素材擴展新的音樂理念,而這樣的音樂處理方式是聽眾所習慣的,因此茲薇莉希的作品受到廣大的聽眾歡迎。
Relation: 彰化師範大學文學院學報, 7: 77-92
Appears in Collections:[文學院學報] 第七期

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