This thesis analyzes three early Michael Torke “color” pieces, Ecstatic Orange, Bright Blue Music, and The Yellow Pages. This analysis provides insight into the compositional process of his early works, which continues to define his style today. Torke’s techniques include rhythmic motives and their variations, rhythmic canon, sectioning as the basis of form, and stratification. This thesis also provides an analytical notational device when defining a Rhythmic Canon Sequence or a Rhythmic Entrance Series. Through this analysis I demonstrate that all three pieces share these compositional techniques but are displayed in three very different pieces. I also explore the phenomenon of the golden section in each of the three pieces and describe the formal and aesthetic significance of the moments in all three pieces. In addition to this analysis, this thesis includes an original piece for symphonic band based upon the findings of my research, entitled Primary, Secondary, Tertiary. The title comes from different types of colors and is a tribute to Torke’s color titles. The analysis of my own work parallels the criteria applied to the Torke works.
","abstract_html":"<p>This thesis analyzes three early Michael Torke “color” pieces, <em>Ecstatic Orange</em>, <em>Bright Blue Music, </em>and <em>The Yellow Pages</em>. This analysis provides insight into the compositional process of his early works, which continues to define his style today. Torke’s techniques include rhythmic motives and their variations, rhythmic canon, sectioning as the basis of form, and stratification. This thesis also provides an analytical notational device when defining a Rhythmic Canon Sequence or a Rhythmic Entrance Series. Through this analysis I demonstrate that all three pieces share these compositional techniques but are displayed in three very different pieces. I also explore the phenomenon of the golden section in each of the three pieces and describe the formal and aesthetic significance of the moments in all three pieces. In addition to this analysis, this thesis includes an original piece for symphonic band based upon the findings of my research, entitled <em>Primary, Secondary, Tertiary</em>. The title comes from different types of colors and is a tribute to Torke’s color titles. The analysis of my own work parallels the criteria applied to the Torke works.</p>","abstract_has_math":false,"creators":["Fast, Aaron"],"institution":null,"degree_name":"Master of Music","degree_level":"Thesis","degree_discipline":"School of Music","degree_department":null,"school":null,"contributors":["Stephen Lias","Courtney Carney","Samantha Inman"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2021,"date_issued":"2021-04-19T07:00:00Z","date_published":"2021-04-19T07:00:00Z","updated_at":"2026-07-24T04:30:30Z","subjects":["Michael Torke","rhythmic motive","rhythmic canon","Rhythmic Canon Sequence","Rhythmic Entrance Sequence","Composition","Music Theory"],"languages":[],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"https://scholarworks.sfasu.edu/etds/376","outbound_label":"Repository record","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Stephen Lias","Courtney Carney","Samantha Inman"]},{"key":"dc:creator","label":"Author","values":["Fast, Aaron"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.available","label":"Dc Date Available","values":["2021-05-03T07:00:00Z"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["School of Music"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Thesis"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Master of Music"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Michael Torke","rhythmic motive","rhythmic canon","Rhythmic Canon Sequence","Rhythmic Entrance Sequence","Composition","Music Theory"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["https://scholarworks.sfasu.edu/etds/376"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["This thesis analyzes three early Michael Torke “color” pieces, Ecstatic Orange, Bright Blue Music, and The Yellow Pages. This analysis provides insight into the compositional process of his early works, which continues to define his style today. Torke’s techniques include rhythmic motives and their variations, rhythmic canon, sectioning as the basis of form, and stratification. This thesis also provides an analytical notational device when defining a Rhythmic Canon Sequence or a Rhythmic Entrance Series. Through this analysis I demonstrate that all three pieces share these compositional techniques but are displayed in three very different pieces. I also explore the phenomenon of the golden section in each of the three pieces and describe the formal and aesthetic significance of the moments in all three pieces. In addition to this analysis, this thesis includes an original piece for symphonic band based upon the findings of my research, entitled Primary, Secondary, Tertiary. The title comes from different types of colors and is a tribute to Torke’s color titles. The analysis of my own work parallels the criteria applied to the Torke works.
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