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dc.contributor.authorSproston, Darren*
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 Scholars
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).
dc.language.isoenen
dc.publisherCambridge Scholars Publishing
dc.relation.urlhttp://www.cambridgescholars.com/essays-on-roberto-gerhard
dc.rights.urihttp://creativecommons.org/licenses/by-nc-nd/4.0/en
dc.subjectRoberto Gerhard
dc.subjectSerialism
dc.subjectProportional analysis
dc.subjectmusical composition
dc.subjectAnglo Catalan composers
dc.titleIt’s All in Proportion: Tracing the Evolution of the Time-Aggregate in Roberto Gerhard’s Music
dc.typeBook chapter
dc.contributor.departmentUniversity of Chesteren
or.grant.openaccessYesen
rioxxterms.funderunfundeden
rioxxterms.identifier.projectunfundeden
rioxxterms.versionAMen
rioxxterms.licenseref.startdate2216-12-01
html.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).
rioxxterms.publicationdate2016-12-01
dc.terms.dateAccepted2016-12-01
dc.date.deposited2017-10-20


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