{"id":{"repo_id":"uiuc","oai_identifier":"oai:www.ideals.illinois.edu:2142/72431"},"canonical_url":"https://search.dev.ndltd.org/etd/uiuc/oai:www.ideals.illinois.edu:2142/72431","repository":{"repo_id":"uiuc","name":"University of Illinois - Urbana-Champaign","base_url":"https://www.ideals.illinois.edu/oai-pmh"},"display":{"title":"On the Construction of the Passing of Time in Music","abstract":"A study of the conditions under which &quot;change&quot; is composed within music. Pitch, tempo, form, and continuity are investigated with regard to how they create or prevent &quot;change&quot;. An extended description is given of Webern's Quartet Op. 22 (1st movement), and a distinction is made between those descriptions that orient and those that instruct musicians. This dissertation addresses the construction of the passing of time in music by giving examples from recent compositions as well as those of the past, and then describing how those compositions create or retard &quot;change&quot;. This dissertation creates the passing of time by its use of language. Thus, it creates in language what it addresses in music.","abstract_html":"A study of the conditions under which &amp;quot;change&amp;quot; is composed within music. Pitch, tempo, form, and continuity are investigated with regard to how they create or prevent &amp;quot;change&amp;quot;. An extended description is given of Webern&#x27;s Quartet Op. 22 (1st movement), and a distinction is made between those descriptions that orient and those that instruct musicians. This dissertation addresses the construction of the passing of time in music by giving examples from recent compositions as well as those of the past, and then describing how those compositions create or retard &amp;quot;change&amp;quot;. This dissertation creates the passing of time by its use of language. 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