{"id":{"repo_id":"uiuc","oai_identifier":"oai:www.ideals.illinois.edu:2142/85786"},"canonical_url":"https://search.dev.ndltd.org/etd/uiuc/oai:www.ideals.illinois.edu:2142/85786","repository":{"repo_id":"uiuc","name":"University of Illinois - Urbana-Champaign","base_url":"https://www.ideals.illinois.edu/oai-pmh"},"display":{"title":"\"Scelsi's Approach to the Third Dimension in \"\"Quattro Pezzi (Su Una Nota Sola)\"","abstract":"This dissertation is a study of Giacinto Scelsi's Quattro Pezzi (su una nota sola). The main goal of this dissertation is to portray Scelsi's compositional aesthetics through the use of the third dimension. The full extent of Scelsi's compositional methods is manifested not only in works such as Quattro Pezzi, but also in the aesthetic that he used to justify his various approaches. A variety of influences before 1959 when Quattro Pezzi was written are examined. Based on a number of influences, Scelsi significantly changed his thoughts about the music in general. The nature of these influences is mostly musical and conceptual. They are identified and discussed through various texts and interviews not only by Scelsi but also by Arnold Schoenberg and Dane Rudhyar. These materials about Scelsi have been further employed in order to put him and his approach into proper historical, cultural, and compositional contexts. In order to retrace and to clarify Scelsi's vision of music and arts in general, composers that influenced him such as Arnold Schoenberg and Dane Rudhyar have been considered. Significant concepts such as three dimensional sound phenomena expressed through multidimensional sonic layers, various progressions of tone color melodies represented through Klangfarbenmelodie, a growing fascination with the power of sound by trying to clearly identify the deference between the meaning of tone and the meaning of note are some of the issues that this paper addresses.","abstract_html":"This dissertation is a study of Giacinto Scelsi's Quattro Pezzi (su una nota sola). The main goal of this dissertation is to portray Scelsi's compositional aesthetics through the use of the third dimension. The full extent of Scelsi's compositional methods is manifested not only in works such as Quattro Pezzi, but also in the aesthetic that he used to justify his various approaches. A variety of influences before 1959 when Quattro Pezzi was written are examined. Based on a number of influences, Scelsi significantly changed his thoughts about the music in general. The nature of these influences is mostly musical and conceptual. They are identified and discussed through various texts and interviews not only by Scelsi but also by Arnold Schoenberg and Dane Rudhyar. These materials about Scelsi have been further employed in order to put him and his approach into proper historical, cultural, and compositional contexts. In order to retrace and to clarify Scelsi's vision of music and arts in general, composers that influenced him such as Arnold Schoenberg and Dane Rudhyar have been considered. Significant concepts such as three dimensional sound phenomena expressed through multidimensional sonic layers, various progressions of tone color melodies represented through Klangfarbenmelodie, a growing fascination with the power of sound by trying to clearly identify the deference between the meaning of tone and the meaning of note are some of the issues that this paper addresses.","abstract_has_math":false,"creators":["Elezovic, Ivan"],"institution":"University of Illinois at Urbana-Champaign","degree_name":"D.M.A.","degree_level":"Dissertation","degree_discipline":"Music","degree_department":null,"school":null,"contributors":["Guy Garnett"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2015,"date_issued":"2015-09-25T22:53:41Z","date_published":"2015-09-25T22:53:41Z","updated_at":"2026-07-22T22:26:25Z","subjects":["Music"],"languages":["eng"],"rights":[],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier","label":"Identifier","values":["(MiAaPQ)AAI3269888"],"render_values":[{"text":"(MiAaPQ)AAI3269888","href":null,"code":true}]}]},"links":{"outbound_url":"http://hdl.handle.net/2142/85786","outbound_label":"Handle","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Guy Garnett"]},{"key":"dc:creator","label":"Author","values":["Elezovic, Ivan"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2015-09-25T22:53:41Z","10000-01-01","2007"]},{"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"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["http://hdl.handle.net/2142/85786","(MiAaPQ)AAI3269888"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["This dissertation is a study of Giacinto Scelsi's Quattro Pezzi (su una nota sola). 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In order to retrace and to clarify Scelsi's vision of music and arts in general, composers that influenced him such as Arnold Schoenberg and Dane Rudhyar have been considered. Significant concepts such as three dimensional sound phenomena expressed through multidimensional sonic layers, various progressions of tone color melodies represented through Klangfarbenmelodie, a growing fascination with the power of sound by trying to clearly identify the deference between the meaning of tone and the meaning of note are some of the issues that this paper addresses.","Made available in DSpace on 2015-09-25T22:53:41Z (GMT). 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The main goal of this dissertation is to portray Scelsi's compositional aesthetics through the use of the third dimension. The full extent of Scelsi's compositional methods is manifested not only in works such as Quattro Pezzi, but also in the aesthetic that he used to justify his various approaches. A variety of influences before 1959 when Quattro Pezzi was written are examined. Based on a number of influences, Scelsi significantly changed his thoughts about the music in general. The nature of these influences is mostly musical and conceptual. They are identified and discussed through various texts and interviews not only by Scelsi but also by Arnold Schoenberg and Dane Rudhyar. These materials about Scelsi have been further employed in order to put him and his approach into proper historical, cultural, and compositional contexts. In order to retrace and to clarify Scelsi's vision of music and arts in general, composers that influenced him such as Arnold Schoenberg and Dane Rudhyar have been considered. Significant concepts such as three dimensional sound phenomena expressed through multidimensional sonic layers, various progressions of tone color melodies represented through Klangfarbenmelodie, a growing fascination with the power of sound by trying to clearly identify the deference between the meaning of tone and the meaning of note are some of the issues that this paper addresses.","Made available in DSpace on 2015-09-25T22:53:41Z (GMT). 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