A theoretical investigation of twelve-tone rows, harmonic aggregates, and non-twelve-tone materials in the late music of Alberto Ginastera
Fobes, Christopher Anderson
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The dissertation seeks to increase the understanding of the music of Alberto Ginastera through the in-depth analysis of pitch and pitch-class relationships in his late music (1958--83). The dissertation also facilitates the opportunity to investigate numerous topics that may be of interest from a more general theoretical perspective, including the relationships among various twelve-tone materials, the twelve-tone concept applied to pitch space, the systematic generation of materials in pitch and pitch-class spaces, the similarity of set structures in pitch and pitch-class spaces, and the relationships between twelve-tone and non-twelve-tone materials. Chapter 1 provides an overview of the dissertation and defines a historical context for Ginastera's late music. Based on Ginastera's twelve-tone rows, Chapter 2 divides into two main parts. The first part explores his row structures in terms of generative procedures and derived row-class relationships. The second part examines the compositional employment of the twelve-tone rows, including approaches to realization and the role in articulating form. Chapter 3 focuses on Ginastera's harmonic aggregates, which represent registrally ordered statements of the twelve pitch classes. Chapter 3 follows the basic format of Chapter 2 and, in a general respect, represents an adaptation of twelve-tone theory in the pitch-space universe. The first part of the chapter examines Ginastera's aggregate structures, including aspects of generation and derived aggregate-class relationships. The second part explores the compositional employment of the harmonic aggregates in terms of approaches to realization and the role in articulating form. Based on Ginastera's use of non-twelve-tone materials, Chapter 4 contains three main parts. The first part explores set structures in terms of generative procedures and, in the process, provides examples of some of the ways sets are realized. The second and third parts examine relations with twelve-tone materials and the role of the non-twelve-tone materials in articulating form, respectively. Chapter 5 explores some of the historical relationships between Ginastera's techniques and those of several other prominent composers. This involves aspects of the twelve-tone styles of Arnold Schoenberg, Anton Webern, and Alban Berg and also the use of harmonic aggregates in the music of Witold Lutoslawski.