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dc.contributor.authorCarter, Aaron Basil
dc.description.abstractIn accordance with the requirements for the completion of the degree Doctor of Musical Arts in Composition, this document consists of three parts: an original composition for orchestra; an analysis of that work with critical commentary on its formal structure, harmonic materials, and textural constructs; and an analysis of related literature by Luciano Berio with the primary focus being textural considerations and formal structures. The compositions by Luciano Berio are Allelujah II for orchestra and Perspectives, a piece of electronic music. Allelujah II explores complex textures, spatialization effects, and rhythmic freedom in the orchestral framework. In these ways, Berio’s approach to Allelujah II is similar to my conception of Irony Machines. These pieces have strong commonalities with electronic music. Thus, a helpful analytical companion to these works is Perspectives, a composition written in close proximity to Allelujah II and by the same composer. This piece shares the pointilliste style of Allelujah II and influences Irony Machines in the areas of spatialization and rhythmic freedom. Irony Machines will be included in full score as an appendix. The composition is a tone poem and is approximately sixteen minutes in length.
dc.subjectTone poem
dc.subjectLuciano Berio
dc.subjectOriginal composition
dc.subjectIrony Machines
dc.subjectAllelujah II
dc.subjectElectronic Music
dc.titleIrony machines
dc.description.departmentSchool of Music
dc.description.advisorAdrian Childs
dc.description.committeeAdrian Childs
dc.description.committeeRoger Vogel
dc.description.committeeLeonard Ball

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