{"id":{"repo_id":"uiuc","oai_identifier":"oai:www.ideals.illinois.edu:2142/19798"},"canonical_url":"https://search.dev.ndltd.org/etd/uiuc/oai:www.ideals.illinois.edu:2142/19798","repository":{"repo_id":"uiuc","name":"University of Illinois - Urbana-Champaign","base_url":"https://www.ideals.illinois.edu/oai-pmh"},"display":{"title":"An examination of the theories and compositions of James Tenney, 1982-1985","abstract":"Item marked as restricted to the 'UIUC Users [automated]' Group (id=2) by Howard Ding (hding2@illinois.edu) on 2011-05-07T14:39:30Z Item is restricted indefinitely.","abstract_html":"Item marked as restricted to the 'UIUC Users [automated]' Group (id=2) by Howard Ding (hding2@illinois.edu) on 2011-05-07T14:39:30Z Item is restricted indefinitely.","abstract_has_math":false,"creators":["Belet, Brian"],"institution":"University of Illinois at Urbana-Champaign","degree_name":"D.M.A.","degree_level":"Dissertation","degree_discipline":"Music","degree_department":null,"school":null,"contributors":["Tipei, Sever"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2011,"date_issued":"2011-05-07T12:18:54Z","date_published":"2011-05-07T12:18:54Z","updated_at":"2026-07-22T22:25:14Z","subjects":["Music"],"languages":["eng"],"rights":["Copyright 1990 Belet, Brian"],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier","label":"Identifier","values":["AAI9026136","(UMI)AAI9026136"],"render_values":[{"text":"AAI9026136","href":null,"code":true},{"text":"(UMI)AAI9026136","href":null,"code":true}]}]},"links":{"outbound_url":"http://hdl.handle.net/2142/19798","outbound_label":"Handle","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Tipei, Sever"]},{"key":"dc:creator","label":"Author","values":["Belet, Brian"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2011-05-07T12:18:54Z","10000-01-01","1990"]},{"key":"dc:type","label":"Dc Type","values":["text"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Music"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Dissertation"]},{"key":"thesis:degree_name","label":"Degree Name","values":["D.M.A."]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["University of Illinois at Urbana-Champaign"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Music"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["eng"]},{"key":"dc:rights","label":"Dc Rights","values":["Copyright 1990 Belet, Brian"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["AAI9026136","(UMI)AAI9026136","http://hdl.handle.net/2142/19798"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["Item marked as restricted to the 'UIUC Users [automated]' Group (id=2) by Howard Ding (hding2@illinois.edu) on 2011-05-07T14:39:30Z Item is restricted indefinitely.","Restriction data tranferred 2014-07-01T11:16:40-05:00 Original Data Group with Access UIUC Users [automated] Release Date: none Reason: ETDs are only available to UIUC Users without author permission","This paper examines the theoretical concepts and compositional procedures used by James Tenney in his compositions of the early and mid-1980's. Some of Tenney's earlier writings and compositions are also examined as precursors to his later works. The primary compositions examined in this paper include Glissade, Koan for String Quartet, Bridge, and Changes: Sixty-four Studies for Six Harps.","This paper examines Tenney's theoretical contributions to musical form, harmony, tuning, and aural perception. Tenney's works are presented as rigorous experiments and focused explorations of specific musical concepts and questions. The four primary works examined are presented as the culmination of almost thirty years of such experiments.","Tenney is presented as a contemporary musical pioneer in the continuing tradition of American experimentalism that began with Charles Ives and continued with Carl Ruggles and John Cage.","The author concludes that James Tenney is a major American composer whose past and on-going contributions to theory, perception, and composition are too important to be ignored in contemporary performance and scholarly circles.","Made available in DSpace on 2011-05-07T12:18:54Z (GMT). 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