Serialisme in Hubert du Plessis se Drie Stukke vir Fluit en Klavier, opus 25 (Afrikaans)

dc.contributor.advisorStanford, H.J.en
dc.contributor.emailjapbotes@gmail.comen
dc.contributor.postgraduateBotes, Johan Andries Prinslooen
dc.date.accessioned2013-09-07T12:39:14Z
dc.date.available2008-09-23en
dc.date.available2013-09-07T12:39:14Z
dc.date.created2008-04-09en
dc.date.issued2008-09-23en
dc.date.submitted2008-09-15en
dc.descriptionDissertation (MMus)--University of Pretoria, 2008.en
dc.description.abstractIn this mini-dissertation the writer analyzed Hubert du Plessis’ Drie Stukke vir Fluit en Klavier, opus 25. He researched why Du Plessis uses three shorter series of different lengths. The relationship between the series in this work was researched, as well as the characteristic applications of the series. It was found that Du Plessis uses shorter series of different lengths as his compositional tool, because they are manageable and can be manipulated for any specific requirement or need. With fewer notes in a series, if chromatic notes are avoided, the music will lean itself to an impression of tonality. It is interesting for the researcher how the feeling of tonality was portrayed through the use of different series and hence the given dissertation was researched. In true atonal music, composers usually disregard third and halftone intervals. Yet, tritones are often used in atonal music. In retrospect, Du Plessis uses more third and halftone intervals than tritones. There is only one tritone in this work (found in the second series), as opposed to the use of third and halftone intervals throughout all three series. The feeling of tonality is further enhanced through fragments of the series that one can place in a specific key. With this in mind, it is evident to get the impression of tonality as a result of fragmentation from the series. Another aspect of tonality that cannot be ignored was the composer’s use of bitonality. The serial techniques that Du Plessis used, was also researched. It was found that Du Plessis did not make use of any new innovations. All these techniques were already used by composers like Schoenberg, Berg, Webern and Dallapiccola. The most important techniques that Du Plessis used, were: <ul> <li>The use of all the forms of the series and their transpositions</li> <li>Overlapping series (that is when the last note of the series, becomes the first note of the next series)</li> <li>Combination of series (superimposition)</li> <li>The dividing of series between the instruments</li> <li>The repetition of notes in a series before all the notes have been used</li> <Li>Sometimes notes are put in a different order, thereby losing the correct order of the series.</li></ul>en
dc.description.availabilityunrestricteden
dc.description.departmentMusicen
dc.identifier.citationa 2007en
dc.identifier.otherE1041/gmen
dc.identifier.upetdurlhttp://upetd.up.ac.za/thesis/available/etd-09152008-124741/en
dc.identifier.urihttp://hdl.handle.net/2263/27951
dc.language.isoen
dc.publisherUniversity of Pretoriaen_ZA
dc.rights© University of Pretoria 2007 E1041/en
dc.subjectHubert du plessisen
dc.subjectSekunde-intervalleen
dc.subjectSekwensen
dc.subjectSerialismeen
dc.subjectReeksvormen
dc.subjectOorvleuelende reekseen
dc.subjectNabootsingen
dc.subjectVrye skommelingen
dc.subjectTonaliteiten
dc.subjectTransposisiesen
dc.subjectBitonalityen
dc.subjectOverlapping seriesen
dc.subjectSerialismen
dc.subjectTonalityen
dc.subjectTranspositionsen
dc.subjectSuperimpositionen
dc.subjectSeries repetitionen
dc.subjectBitonaliteiten
dc.subjectOpstapelingen
dc.subjectPedaalpunten
dc.subjectReeksherhalingen
dc.subjectReeks-onderbrekingen
dc.subjectUCTDen_US
dc.titleSerialisme in Hubert du Plessis se Drie Stukke vir Fluit en Klavier, opus 25 (Afrikaans)en
dc.typeDissertationen

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