Dissertations / Theses on the topic 'Dallapiccola'

This is the first study in English of the music written by Luigi Dallapiccola (1904-75) during the 1930s. There are five chapters. In the first, I attempt to define Dallapiccola's compositional character with reference to what I have called a prima maniera, judged to have been established by around 1935. Particular stress is laid on Dallapiccola's debt to the works of Stravinsky's so-called 'Russian' period. The second chapter opens by pointing out how Dallapiccola's attitude towards Stravinsky, expressed in essays written throughout his career, was almost exclusively negative. In interviews given in later life, he goes so far as to repeatedly deny that Stravinsky's music had ever influenced him in any way. The contradiction between these denials and the obvious Stravinskyisms which are demonstrated in my first chapter prompts a reappraisal of Dallapiccola's early work in political terms, drawing on contemporary analyses of the relationship between neoclassicism and fascism. Chapter three investigates the most celebrated feature of Dallapiccola's music of this period, the extent to which it partakes of the innovations of the Second Viennese School. The picture usually painted in the literature is revised in the light of the analysis carried out in chapter one. The final two chapters undertake an extended study of Dallapiccola's major work of the 1930s, the one-act opera, Volo di notte (1937-39), after the novel by Antoine de Saint-Exupéry. Chapter four analyses the large-scale musico-dramatic design of the opera. Chapter five addresses the political/aesthetic issues which it raises, when read as a confessional 'artist opera' in the tradition of Die Meistersinger. Parallels are drawn between the decidedly Nietzschean heroism voiced by Saint-Exupéry novel (from which Dallapiccola prepared his own libretto), the modernism both of Schoenberg and of another of Dallapiccola's avant garde idols, Ferruccio Busoni, and a typically fascistic egotistical posturing.

This thesis examines the influence of Luigi Dallapiccola (1904–1975) on Bruno Maderna's (1920–1973) early serialism by means of a comparative analysis. Two song cycles are compared: Dallapiccola's Liriche greche (1942–45) and Maderna's Tre liriche greche per piccolo coro, soprano solo e strumenti (1948). The author presents separate analyses of each work (Chapters 1 and 2), which form the basis for comparison (Chapter 3). The analysis of Dallapiccola's Liriche greche examines in particular the effects of his non-serial compositional choices on his twelve-tone method. The discussion of Maderna's Tre liriche greche illustrates how his novel methods of serial development result from his aesthetic concern to create diversified musical surfaces. The comparison of the two composers' compositional methods establishes a number of similarities that substantiate Dallapiccola's influence on Maderna. The thesis concludes with a brief investigation of the relationship between Maderna's early and mature serialism.
Le présent mémoire examine l'influence de Luigi Dallapiccola (1904–1975) sur les premières œuvres sérielles de Bruno Maderna (1920–1973) au moyen d'une analyse comparative. Deux cycles de chansons y sont comparés : les Liriche greche de Dallapiccola (1942–1945) et les Tre liriche greche per piccolo coro, soprano solo e strumenti (1948) de Maderna. L'auteur présente des analyses de chaque œuvre aux chapitres 1 et 2, sur lesquelles il fonde son analyse comparative présentée au chapitre 3. L'analyse des Liriche greche de Dallapiccolla examine plus particulièrement les effets de ses choix compositionnels non sériels sur sa méthode dodécaphonique. La discussion des Tre liriche greche de Maderna illustre comment les méthodes innovatrices de développement sériel du compositeur résultent de sa préoccupation esthétique de créer des surfaces musicales diversifiées. La comparaison des approches des deux compositeurs établit plusieurs similitudes qui confirment l'influence de Dallapiccola sur Maderna. Le mémoire se termine par un bref examen des relations entre le sérialisme primitif et tardif de Maderna.

L’objectif principal de cette recherche était d’étudier les motivations et les besoins qui ont conduit un groupe de compositeurs italiens, nés autour de 1880, et par cette coïncidence chronologique définis par Massimo Mila comme les compositeurs de « la génération des années quatre-vingt », à utiliser pour leurs œuvres chantées des textes de la poésie italienne du Moyen Age et de la Renaissance. Il s’est agi d’une enquête qui a dû tenir compte de nombreux facteurs, surtout étant donné l’imbrication des intérêts artistiques et littéraires et de la complexité historico-culturelle du contexte de la fin du XIXe et début du XXe siècle.En première instance, il a été fondamental de fixer les termes chronologiques d’un changement, voire d’une véritable rupture déterminée au niveau européen par la crise générale du positivisme exprimée de différentes manières en Italie, sous la forme d’une forte réaction au Vérisme dans le domaine littéraire et au mélodrame dans celui plus spécifiquement musical.Une première donnée importante sur laquelle nous nous sommes concentrés a été celle qui traitait globalement des compositeurs qui créaient non seulement des œuvres chantées pour le théâtre, mais également instrumentales de chambre et symphoniques. En conclusion, on observe qu’il est impossible de reconduire l’explication de la revalorisation des textes de la poésie ancienne italienne chez les compositeurs du début du XXe siècle à un seul élément: il faut donc plutôt rechercher une pluralité d’aspects très souvent dépendants d’exigences socio-économiques, culturelles et historiques bien précises. L’intérêt général pour cette période de la littérature fut élaboré de façon totalement personnelle par chaque compositeur et dans cette recherche, nous pensons avoir donné une contribution significative à l’étude de cet aspect de la musique du XXe siècle
The main purpose of this research was to study the motivations and requirements of a group of Italian composers, born around the years 1880's; for this chronological coincidence defined by Massimo Mila as the composers of the generation of the eighties recognizing the texts of ancient Italian poetry for some of their operas' lyrics. It was a path of investigation taking into account many factors, in particular the interweaving of artistic and literary interests and the cultural historical complexity of the context of the late nineteenth and the early twentieth centuries. Fundamental in the first place was the need to set up chronological indicative terms of the change, in fact, of the real breakthrough determined at European level by the general crisis of positivism reflected in various ways in Italy in the form of a strong reaction to Verismo in literature and to Melodramma specifically within the music. One of the first important aspect that we focused on in the present work was the fact that the composers we took into consideration were creating not only pieces made for the theatre, but also symphonic and instrumental compositions.In conclusion, it was found that the desire of the composers of the beginning of the 20th century to approach to the texts of ancient Italian poetry has been conditioned by many factors, affected by the social, economic, cultural and historical aspects.If there was a merely general interest in that period as far as the literature is concerned, then the same rough times were perceived by each composer in a very unique, personal way and in this research we believe that the significant contribution to the study of this aspect of the 20th century music has been given to a certain extent
Lo scopo principale della presente ricerca è stato quello di studiare le motivazioni e le esigenze che hanno portato un gruppo di compositori italiani, nati intorno al 1880, e per questa coincidenza cronologica definiti da Massimo Mila, come i compositori de « la generazione dell’Ottanta » a utilizzare per le loro opere cantate testi della poesia antica italiana. Si è trattato di un percorso di indagine che ha dovuto tenere conto di numerosi fattori dato soprattutto l’intreccio di interessi artistici e letterari e la complessità storico culturale del contesto di fine Ottocento e inizio Novecento. Fondamentale in prima istanza è stata l’esigenza di fissare dei termini cronologici indicativi di un cambiamento, anzi di una vera e propria rottura determinata a livello europeo dalla generale crisi del positivismo riflessasi in vario modo in Italia nelle forme di una forte reazione al verismo in ambito letterario e al melodramma in quello più specificamente musicale. Un primo dato importante su cui ci si è concentrati nel nostro lavoro è stato quello che si trattava di compositori a tutto tondo, che creavano non solo opere cantate per il teatro, ma anche strumentali da camera e sinfoniche. In conclusione si è riscontrato che il desiderio dei compositori del primo Novecento di rifarsi e riprendere i testi dell’antica poesia italiana per le loro opere, non va attribuito a un solo elemento, ma deve essere riferito a una pluralità di aspetti molto spesso dipendenti da esigenze socio economico culturali e storiche. Se vi fu un generale interesse per quel periodo della letteratura lo stesso fu poi elaborato in modo del tutto personale da ogni compositore e in questa ricerca crediamo di aver dato per quello che abbiamo considerato un significativo contributo allo studio di questo aspetto della musica del Novecento

This thesis explores text-music relationships in Dallapiccola’s Goethe Lieder. Though the cycle is based on Goethe’s West-östlicher divan, it was Mann’s novel Joseph und seine Brüder that spurred its inception. This seven-song cycle revolves around Suleika, a character from the biblical love story of Joseph and Potiphar’s Wife. Dallapiccola set this text upon reading Mann’s novel, which stems from the same story; however, Mann portrayed the character of Suleika as a sympathetic lover rather than the traditional evil seductress. By conducting a thorough pitch structure analysis of each song, focusing in particular on motives, symmetry and aggregates, this thesis examines text-music relationships to demonstrate how Mann’s Suleika is musically represented. This thesis illustrates that Dallapiccola’s setting is a musical composite of both Goethe and Mann’s Suleikas and thus sheds new analytical and hermeneutic light on an important work by one of the twentieth-century’s most prominent serial composers.

Music Composition
Ph.D.
The final piece of Dallapiccola’s “protest triptych” responding to Mussolinian fascism, Canti di Liberazione (1955) shows Dallapiccola’s abiding interest in author James Joyce’s work through its literary-inspired “simultaneity” and compositional strategies that suggest mixed temporalities (diverse temporal modes). This connection has significant implications on both the temporal and narrative forces at play within the work. Incorporating the work of philosophers such as Bergson and Adorno, I situate nonlinearity within the context of twentieth-century cultural life. Following Kern, I discuss the juxtaposition of distinct temporalities (simultaneity) in work such as Joyce’s Ulysses, which Dallapiccola adored, in addition to providing an overview of simultaneity in music. Next, I draw from Kramer and Reiner in examining the manifestations of linearity and nonlinearity in music. I explain how intertextuality has nonlinear implications and invites hermeneutic interpretation. Following Brown, I identify different types of symbolism and quotation in the work. Motivic elements such as the BACH cryptogram, musical references to Canti di Prigionia and Il Prigioniero, and structural symbolism such as palindromic gestures, are all crucial components of Liberazione’s unique temporal nexus. I explain how Dallapiccola’s intertextuality and compositional devices (such as retrograde, cross-partitioning, motivic recurrence, and rhythmic figuration) parallel Joyce’s techniques in Ulysses. Finally, I present a temporal analysis of Liberazione. Drawing from Kramer, I show how characteristics such as stepwise pitch relationships, homophony, and triadic gestures suggest linearity, while pedal points, “floating rhythm,” proportions, and polarity present nonlinearity. Moreover, I demonstrate how mixed temporalities (more than one temporal mode) operate within the work, and how linearity and nonlinearity exist at different structural levels. I explain how the recurring 01 dyad—a motivic minor second or major seventh—also manifests in the background stepwise descent of the work (F# to F), subverting the narrative transcendence of the conclusion. Ultimately, I categorize the work as an example of Kramer’s multiply-directed linear time, given its structural pitch connections and goal-directed teleology.
Temple University--Theses

Thesis (M.M.)--University of Missouri-Columbia, 2007.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on April 4, 2008) Includes bibliographical references.

O principal objetivo desse trabalho é observar como o compositor italiano Luigi Dallapiccola trabalha, cria e manipula o material musical, as séries e seus desdobramentos, na composição da ópera Il Prigioniero. Por se tratar de uma obra conduzida por um percurso dramático, a análise também envolve, quando necessário, aspectos narrativos, dramatúrgicos, cenográficos e, consequentemente, psicológicos - ao abordar os personagens e suas interações na história. Durante a pesquisa, foram revelados processos composicionais idiossincráticos na maneira como Dallapiccola trabalha o serialismo, em particular, quando o compositor deriva coleções octatônicas de séries dodecafônicas, criando complexos harmônicos e melódicos, inter-relacionando materiais de natureza aparentemente antagônicas. A fim de demonstrar com a maior clareza possível a diversidade de materiais e técnicas utilizadas na criação da ópera, diferentes ferramentas analíticas foram aplicadas, muitas vezes de maneira complementar, durante as análises musicais. O trabalho está dividido em três capítulos sequenciais, além da introdução e das conclusões finais: o primeiro capítulo, introduz, de modo geral, a obra e o desenvolvimento técnico do compositor durante sua vida profissional; o segundo capítulo, aborda a construção dos materiais que alicerçam a composição da ópera; e o terceiro capítulo, expõe a maneira como o compositor cria e desenvolve a composição dramático-musical da ópera.
The main goal of this work is observing how the Italian composer Luigi Dallapiccola works, creates and manipulates the musical material, the series and its unfolding, in the composition of the opera \"Il Prigioniero\". Because it is a dramatic work, the analysis also involves, when necessary, narrative, dramaturgical, scenographic and, consequently, psychological aspects - in approaching the characters and their interactions in history. During the research, idiosyncratic compositional processes were revealed in the way Dallapiccola works serialism when the composer derives octatonic collections from dodecaphonic series, creating harmonic and melodic complexes, interrelating antagonistic materials. To demonstrate as clearly as possible, the diversity of materials and techniques used in the creation of the opera, different analytical tools were applied, often in a complementary way, during the musical analyzes. The work is separated into three sequential chapters, in addition to the introduction and final conclusions: the first chapter introduces, in a general way, the work and technical development of the composer during his professional life; The second chapter deals with the construction of the materials that sustain the composition of the opera; And the third chapter, exposes the way the composer creates and develops the dramatic-musical composition of opera.

The compositional technique of cross partitioning is one of Luigi Dallapiccola's most used twelve-tone devices. Through a detailed analysis of three contrapuntal canonic movements from Dallapiccola's Quaderno Musicale di Annalibera, I examine his use of cross partitioning as a motivic tool and as a referential collection. The development of the BACH motive and the derivation of tone-row statements reflects on Dallapiccola's extensive use of cross partitioning and his compositional principles used to achieve a sense of polarity. Upon a preliminary analysis based on set-theory analysis set out by Joseph Straus I draw an interpretive analysis through Alegant's cross partitioning model as well as develop my own set of parameters for interpretation in regards to polarity which is based on intervallic stability.

L’opéra occupe une place essentielle dans la pensée de Luigi Dallapiccola (1904-1975). Ses deux premiers opéras, Volo di notte et Il Prigioniero, sont influencés par Antoine de Saint Exupéry (1900-1944) et Auguste de Villiers de l’Isle-Adam (1838-1889). Ces deux auteurs, fondamentaux pour l’ensemble du corpus musico-théâtral du compositeur, s’avèrent décisifs dans sa conception de l’Univers, du Parcours et de la Figure du Héros : ils annoncent une esthétique du Sacré et de l’Initiatique. En écrivant lui-même ses livrets, Dallapiccola retravaille ses sources, qu’il questionne et qu’il associe à une littérature riche. Le héros traverse un cheminement méandreux, entre ombre et lumière, rêve et cauchemar, liberté et prison. Exaltation sereine et effroi se conjuguent, mythe et religion sont investis : ils génèrent un espace sacré du héros. Les lectures, littéraire, musicale, mais aussi philosophique et anthropologique, découvrent un parcours semé d’épreuves, voyage initiatique teinté de solitude, d’angoisse et de souffrance. Le héros évolue au sein d’une triple structure, sacrée, initiatique et expressionniste. Luigi Dallapiccola construit une pensée de l’opéra transdisciplinaire, humaniste et visionnaire, qui interroge la thymie de l’Homme
Opera is the core of Luigi Dallapiccola’s thought (1904-1975). His first two operas, Volo di notte and Il Prigioniero are influenced by Antoine de Saint Exupéry (1900-1944) and Auguste de Villiers de l’Isle-Adam (1838-1889). These two authors, essential to the composer’s whole musical and dramatic corpus, are in fact at the root of the World, of the Journey and of the Figure of the Hero: they foretell an aesthetic of the Holy and of the Initiatory. When writing his libretti himself, Dallapiccola works on his sources, questioning them and associating them to a rich literature. The hero follows a tortuous path, amid light and shadow, dream and nightmare, freedom and jail. Serene Elation and dread mingle, myth and religion are treated: they create a sacred place for the hero. The readings, literary, musical but also philosophical and anthropological, reveal a treacherous course, an initiatory journey imbued with loneliness, fear and suffering. The hero evolves in a tripartite structure, sacred, initiatory and expressionist. Luigi Dallapiccola builds up a multi-disciplinary conception of opera, humanist, visionary, which questions Man’s mood

Le theme de cette recherche est l'analyse de la production lyrique contemporaine italienne (puccini, dallapiccola, berio, nono) en mettant en valeur les incidences de l'ecriture musicale dans le traitement du texte et ses repercutions sur la representation lyrique telle qu'elle devrait apparaitre aujourd'hui. L'opera italien contemporain propose une nouvelle forme d'ecoute ainsi qu'un nouveau rapport du spectateur a l'image de la scene. La constitution de l'image incombe au metteur en scene desormais considere comme veritable lecteur / createur de l'oeuvre, celui sans qui l'oeuvre ne peut exister. La place du metteur en scene est inscrite dans l'oeuvre et le travail effectue sur l'oeuvre contemporaine s'avere necessaire aussi pour l'oeuvre du passe. The purpose of this research is to analyse the contemporary italian opera production (puccini, dallapiccola, berio, nono). We tried to see what sort of consequences the new way of writing music and considering text had on the opera representation. The italian contemporary opera proposes a new way of listening music and a new relation between the audience and scenical image. The new image has to be produced by a new kind of stage director considered as a real artist who can give an interpretation of the work. That's the only way opera can still exist. The part of the stage director is clearly request in modern opera, but it becomes necessary in productions of repertory operas too.

Thesis (Ph.D.) -- University of Maryland, College Park, 2004.
Thesis research directed by: Music. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

Thesis (M.M.)--University of North Carolina at Greensboro, 2007.
Title from PDF t.p. (viewed Oct. 22, 2007). Directed by J. Kent Williams; submitted to the School of Music. Includes bibliographical references (p. 98-99).

Thesis (Dr. of Musical Arts)--University of Cincinnati, 2007.
Advisor: Jeongwon Joe Ph.D. Title from electronic thesis title page (viewed May 8, 2008). Includes abstract. Includes bibliographical references.

This thesis explores text-music relationships in Dallapiccola’s Goethe Lieder. Though the cycle is based on Goethe’s West-östlicher divan, it was Mann’s novel Joseph und seine Brüder that spurred its inception. This seven-song cycle revolves around Suleika, a character from the biblical love story of Joseph and Potiphar’s Wife. Dallapiccola set this text upon reading Mann’s novel, which stems from the same story; however, Mann portrayed the character of Suleika as a sympathetic lover rather than the traditional evil seductress. By conducting a thorough pitch structure analysis of each song, focusing in particular on motives, symmetry and aggregates, this thesis examines text-music relationships to demonstrate how Mann’s Suleika is musically represented. This thesis illustrates that Dallapiccola’s setting is a musical composite of both Goethe and Mann’s Suleikas and thus sheds new analytical and hermeneutic light on an important work by one of the twentieth-century’s most prominent serial composers.

Thesis (Ph.D.)--State University of New York at Buffalo, 2008.
Title from PDF title page (viewed on Jan. 16, 2009) Available through UMI ProQuest Digital Dissertations. Thesis adviser: Hyde, Martha Includes bibliographical references.

abstract: Many of the works of Dominick Argento have been researched and analyzed, but his choral work Evensong: Of Love and Angels s has received limited attention thus far. Written in memoriam for his wife Carolyn Bailey Argento, Evensong draws its musical material from her initials C.B.A. These letters, translated into note names, form a conspicuous head motive that is present in each movement of the work, and it serves multiple functions: as a melodic feature, as the foundation for a twelve-tone row, and as a harmonic base. This paper provides an overview of the work's conception with specific relation to Argento's biographical details, compositional style, and work habits; a brief review of the critical reception of the work; and a succinct analysis of the form and cyclical materials found in each movement.
Dissertation/Thesis
D.M.A. Music 2011

The purpose of this study is to illustrate several aspects of Dallapiccola's coherent expressionism in Il Prigioniero by focusing upon his approach to symmetrical formal structure in the drama; structural relationships in the twelve-tone sets themselves and in their usage in Scene IV; and specifically how these sets are arranged to form distinct, heirarchical tone-centers corresponding to those that characterize the tertian system. In particular, the arch-form defines the drama in Scene IV as well as the drama of the opera as a whole. Furthermore, the most fundamental level of a reductive level of analysis also suggests an A B C B A structure with regard to the primary tone centers. Dallapiccola's attention to proportion and balance within such a form illustrates a clarity of objective, upon which this study also focuses. The importance of the moral and metaphysical issues proposed in his libretto leads to a greater understanding of the composer as well as his other works.