{"id":{"repo_id":"uiuc","oai_identifier":"oai:www.ideals.illinois.edu:2142/85768"},"canonical_url":"https://search.dev.ndltd.org/etd/uiuc/oai:www.ideals.illinois.edu:2142/85768","repository":{"repo_id":"uiuc","name":"University of Illinois - Urbana-Champaign","base_url":"https://www.ideals.illinois.edu/oai-pmh"},"display":{"title":"Preserving the Fragment: Techniques and Traits of Franco Donatoni's Joyous Period (1977 to 2000)","abstract":"\"Donatoni's production from this period will be discussed in three ways: by recounting his important life events, uncovering techniques of his early style, and investigating new approaches in his later style. Chapters 2 and 4 examine events in Donatoni's life that contributed to the divide that lies between his early and late styles, since he did not \"\"write anything [he did not live], and vice versa.\"\" Chapter 2 looks at his career as a whole, while Chapter 4 looks more closely at his life in the mid-1970s when he bridged the stylistic gap between his early and late styles. Chapter 3 concerns his early codes used prior to his late style. Etwas Ruhiger im Ausdruck (1967) serves as an excellent example of his early codes, and it is one of his most popular works from this initial period. Chapters 5 and 6 examine chamber and solo works in his later style, respectively. Refrain (1986) for eight instruments was chosen as a point of departure, since it is a clear representation of his later chamber style. Two of his popular solo works, Omar (1985) and Lem (1982) are examined as examples of his later solo writing, and will be analyzed in the same manner.\"","abstract_html":""Donatoni's production from this period will be discussed in three ways: by recounting his important life events, uncovering techniques of his early style, and investigating new approaches in his later style. Chapters 2 and 4 examine events in Donatoni's life that contributed to the divide that lies between his early and late styles, since he did not ""write anything [he did not live], and vice versa."" Chapter 2 looks at his career as a whole, while Chapter 4 looks more closely at his life in the mid-1970s when he bridged the stylistic gap between his early and late styles. Chapter 3 concerns his early codes used prior to his late style. Etwas Ruhiger im Ausdruck (1967) serves as an excellent example of his early codes, and it is one of his most popular works from this initial period. Chapters 5 and 6 examine chamber and solo works in his later style, respectively. Refrain (1986) for eight instruments was chosen as a point of departure, since it is a clear representation of his later chamber style. Two of his popular solo works, Omar (1985) and Lem (1982) are examined as examples of his later solo writing, and will be analyzed in the same manner."","abstract_has_math":false,"creators":["Decker, Bradley David"],"institution":"University of Illinois at Urbana-Champaign","degree_name":"D.M.A.","degree_level":"Dissertation","degree_discipline":"Music","degree_department":null,"school":null,"contributors":["Erik Lund"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2015,"date_issued":"2015-09-25T22:53:26Z","date_published":"2015-09-25T22:53:26Z","updated_at":"2026-07-22T22:26:25Z","subjects":["Biography"],"languages":["eng"],"rights":[],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier","label":"Identifier","values":["(MiAaPQ)AAI3223575"],"render_values":[{"text":"(MiAaPQ)AAI3223575","href":null,"code":true}]}]},"links":{"outbound_url":"http://hdl.handle.net/2142/85768","outbound_label":"Handle","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Erik Lund"]},{"key":"dc:creator","label":"Author","values":["Decker, Bradley David"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2015-09-25T22:53:26Z","10000-01-01","2006"]},{"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":["Biography"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["eng"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["http://hdl.handle.net/2142/85768","(MiAaPQ)AAI3223575"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["\"Donatoni's production from this period will be discussed in three ways: by recounting his important life events, uncovering techniques of his early style, and investigating new approaches in his later style. Chapters 2 and 4 examine events in Donatoni's life that contributed to the divide that lies between his early and late styles, since he did not \"\"write anything [he did not live], and vice versa.\"\" Chapter 2 looks at his career as a whole, while Chapter 4 looks more closely at his life in the mid-1970s when he bridged the stylistic gap between his early and late styles. Chapter 3 concerns his early codes used prior to his late style. Etwas Ruhiger im Ausdruck (1967) serves as an excellent example of his early codes, and it is one of his most popular works from this initial period. Chapters 5 and 6 examine chamber and solo works in his later style, respectively. Refrain (1986) for eight instruments was chosen as a point of departure, since it is a clear representation of his later chamber style. Two of his popular solo works, Omar (1985) and Lem (1982) are examined as examples of his later solo writing, and will be analyzed in the same manner.\"","Made available in DSpace on 2015-09-25T22:53:26Z (GMT). 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Chapters 2 and 4 examine events in Donatoni's life that contributed to the divide that lies between his early and late styles, since he did not \"\"write anything [he did not live], and vice versa.\"\" Chapter 2 looks at his career as a whole, while Chapter 4 looks more closely at his life in the mid-1970s when he bridged the stylistic gap between his early and late styles. Chapter 3 concerns his early codes used prior to his late style. Etwas Ruhiger im Ausdruck (1967) serves as an excellent example of his early codes, and it is one of his most popular works from this initial period. Chapters 5 and 6 examine chamber and solo works in his later style, respectively. Refrain (1986) for eight instruments was chosen as a point of departure, since it is a clear representation of his later chamber style. Two of his popular solo works, Omar (1985) and Lem (1982) are examined as examples of his later solo writing, and will be analyzed in the same manner.\"","Made available in DSpace on 2015-09-25T22:53:26Z (GMT). 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