It’s All in Proportion: Tracing the Evolution of the Time-Aggregate in Roberto Gerhard’s Music

Hdl Handle:
http://hdl.handle.net/10034/620670
Title:
It’s All in Proportion: Tracing the Evolution of the Time-Aggregate in Roberto Gerhard’s Music
Authors:
Sproston, Darren
Abstract:
This chapter investigates a very specific innovation in Roberto Gerhard’s compositional practice and traces its possible origins. The technique in question is the “time-aggregate” or use of proportions, directly derived from the tone row, as a structural device. This inquiry begins Roberto Gerhard’s article “Functions of the Series in Twelve-Note Composition” and then works in reverse chronological order through his writings and compositions and through the musings of other scholars finally dwelling on three works which are believed to be Gerhard’s earliest experiments in the use of the method: the Three Impromptus (1950), Capriccio for Solo Flute (1949), and the Sonata for Viola (Cello) and Piano (1948/1956).
Affiliation:
University of Chester
Citation:
Sproston, D. (2016). It’s All in Proportion: Tracing the Evolution of the Time-Aggregate in Roberto Gerhard’s Music. In Adkins, M. & Russ, M. (Eds), Essays on Roberto Gerhard. Newcastle-upon-Tyne, United Kingdom: Cambridge Scholars
Publisher:
Cambridge Scholars Publishing
Publication Date:
1-Dec-2016
URI:
http://hdl.handle.net/10034/620670
Additional Links:
http://www.cambridgescholars.com/essays-on-roberto-gerhard
Type:
Book chapter
Language:
en
Description:
This is a chapter in the book (final proof before publication) which can be found in 'Essays on Roberto Gerhard' edited by Monty Adkins and Mike Russ.
ISBN:
9781443811088
Appears in Collections:
Performing Arts

Full metadata record

DC FieldValue Language
dc.contributor.authorSproston, Darrenen
dc.date.accessioned2017-10-20T15:36:23Z-
dc.date.available2017-10-20T15:36:23Z-
dc.date.issued2016-12-01-
dc.identifier.citationSproston, D. (2016). It’s All in Proportion: Tracing the Evolution of the Time-Aggregate in Roberto Gerhard’s Music. In Adkins, M. & Russ, M. (Eds), Essays on Roberto Gerhard. Newcastle-upon-Tyne, United Kingdom: Cambridge Scholarsen
dc.identifier.isbn9781443811088-
dc.identifier.urihttp://hdl.handle.net/10034/620670-
dc.descriptionThis is a chapter in the book (final proof before publication) which can be found in 'Essays on Roberto Gerhard' edited by Monty Adkins and Mike Russ.en
dc.description.abstractThis chapter investigates a very specific innovation in Roberto Gerhard’s compositional practice and traces its possible origins. The technique in question is the “time-aggregate” or use of proportions, directly derived from the tone row, as a structural device. This inquiry begins Roberto Gerhard’s article “Functions of the Series in Twelve-Note Composition” and then works in reverse chronological order through his writings and compositions and through the musings of other scholars finally dwelling on three works which are believed to be Gerhard’s earliest experiments in the use of the method: the Three Impromptus (1950), Capriccio for Solo Flute (1949), and the Sonata for Viola (Cello) and Piano (1948/1956).en
dc.language.isoenen
dc.publisherCambridge Scholars Publishingen
dc.relation.urlhttp://www.cambridgescholars.com/essays-on-roberto-gerharden
dc.rights.urihttp://creativecommons.org/licenses/by-nc-nd/4.0/en
dc.subjectRoberto Gerharden
dc.subjectSerialismen
dc.subjectProportional analysisen
dc.subjectmusical compositionen
dc.subjectAnglo Catalan composersen
dc.titleIt’s All in Proportion: Tracing the Evolution of the Time-Aggregate in Roberto Gerhard’s Musicen
dc.typeBook chapteren
dc.contributor.departmentUniversity of Chesteren
dc.date.accepted2016-12-01-
or.grant.openaccessYesen
rioxxterms.funderunfundeden
rioxxterms.identifier.projectunfundeden
rioxxterms.versionAMen
rioxxterms.licenseref.startdate2216-12-01-
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