{"id":{"repo_id":"uiuc","oai_identifier":"oai:www.ideals.illinois.edu:2142/85792"},"canonical_url":"https://search.dev.ndltd.org/etd/uiuc/oai:www.ideals.illinois.edu:2142/85792","repository":{"repo_id":"uiuc","name":"University of Illinois - Urbana-Champaign","base_url":"https://www.ideals.illinois.edu/oai-pmh"},"display":{"title":"Reflection of Debussy: A Comparative Analysis of Solo Marimba Works by Jacob Druckman and Richard Rodney Bennett","abstract":"Jacob Druckman's Reflections' on the Nature of Water (1986) and Richard Rodney Bennett's After Syrinx II (1984) are two works for solo marimba that involve direct quotation and indirect stylistic appropriation from the music of Claude Debussy. Bennett composes a theme and variations using the flute melody Syrinx (1913) to explore the boundaries between tonality and serial techniques. Druckman's six movements each represent a different physical state of water and constitute an homage to Debussy's Preludes (1910-13) through their musical language and imagery. The detailed analysis of these two scores reveals the compositional connections to Debussy, paying special attention to pitch organization and the development of each work's central motives. The analytical techniques utilized are dependent on the language of the composition itself, employing serial analysis in the case of After Syrinx II and a loose application of set theory for Reflections on the Nature of Water. Ultimately both works exhibit compositional similarities to Debussy in the treatment of specific pitch collections as referential sonorities, a correlation between smaller structural components and larger formal or tonal design, and an Impressionistic manner of representing their subjects.","abstract_html":"Jacob Druckman's Reflections' on the Nature of Water (1986) and Richard Rodney Bennett's After Syrinx II (1984) are two works for solo marimba that involve direct quotation and indirect stylistic appropriation from the music of Claude Debussy. Bennett composes a theme and variations using the flute melody Syrinx (1913) to explore the boundaries between tonality and serial techniques. Druckman's six movements each represent a different physical state of water and constitute an homage to Debussy's Preludes (1910-13) through their musical language and imagery. The detailed analysis of these two scores reveals the compositional connections to Debussy, paying special attention to pitch organization and the development of each work's central motives. The analytical techniques utilized are dependent on the language of the composition itself, employing serial analysis in the case of After Syrinx II and a loose application of set theory for Reflections on the Nature of Water. Ultimately both works exhibit compositional similarities to Debussy in the treatment of specific pitch collections as referential sonorities, a correlation between smaller structural components and larger formal or tonal design, and an Impressionistic manner of representing their subjects.","abstract_has_math":false,"creators":["Brunk, Jeremy Matthew"],"institution":"University of Illinois at Urbana-Champaign","degree_name":"A.Mus.D.","degree_level":"Dissertation","degree_discipline":"Music","degree_department":null,"school":null,"contributors":["Moersch, William"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2015,"date_issued":"2015-09-25T22:54:01Z","date_published":"2015-09-25T22:54:01Z","updated_at":"2026-07-22T22:26:25Z","subjects":["Music"],"languages":["eng"],"rights":[],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier","label":"Identifier","values":["(MiAaPQ)AAI3301106"],"render_values":[{"text":"(MiAaPQ)AAI3301106","href":null,"code":true}]}]},"links":{"outbound_url":"http://hdl.handle.net/2142/85792","outbound_label":"Handle","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Moersch, William"]},{"key":"dc:creator","label":"Author","values":["Brunk, Jeremy Matthew"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2015-09-25T22:54:01Z","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":["A.Mus.D."]},{"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/2142/85792","(MiAaPQ)AAI3301106"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["Jacob Druckman's Reflections' on the Nature of Water (1986) and Richard Rodney Bennett's After Syrinx II (1984) are two works for solo marimba that involve direct quotation and indirect stylistic appropriation from the music of Claude Debussy. Bennett composes a theme and variations using the flute melody Syrinx (1913) to explore the boundaries between tonality and serial techniques. Druckman's six movements each represent a different physical state of water and constitute an homage to Debussy's Preludes (1910-13) through their musical language and imagery. The detailed analysis of these two scores reveals the compositional connections to Debussy, paying special attention to pitch organization and the development of each work's central motives. The analytical techniques utilized are dependent on the language of the composition itself, employing serial analysis in the case of After Syrinx II and a loose application of set theory for Reflections on the Nature of Water. Ultimately both works exhibit compositional similarities to Debussy in the treatment of specific pitch collections as referential sonorities, a correlation between smaller structural components and larger formal or tonal design, and an Impressionistic manner of representing their subjects.","Made available in DSpace on 2015-09-25T22:54:01Z (GMT). No. of bitstreams: 2 license.txt: 4848 bytes, checksum: 96035ab3f5e1c23cc7138a224ce498bd (MD5) 3301106.pdf: 5442763 bytes, checksum: e900647392a0f0f88332133d7f07f263 (MD5) Previous issue date: 2007","Embargo set by: Seth Robbins for item 87073 Lift date: Forever Reason: Restricted to the U of I community idenfinitely during batch ingest of legacy ETDs","Restricted to the U of I community idenfinitely during batch ingest of legacy ETDs","U of I Only","220 p.","Thesis (A.Mus.D.)--University of Illinois at Urbana-Champaign, 2007."]},{"key":"dc:title","label":"Title","values":["Reflection of Debussy: A Comparative Analysis of Solo Marimba Works by Jacob Druckman and Richard Rodney Bennett"]}]}],"canonical_facts":{"dc:contributor":["Moersch, William"],"dc:creator":["Brunk, Jeremy Matthew"],"dc:date":["2015-09-25T22:54:01Z","10000-01-01","2007"],"dc:description":["Jacob Druckman's Reflections' on the Nature of Water (1986) and Richard Rodney Bennett's After Syrinx II (1984) are two works for solo marimba that involve direct quotation and indirect stylistic appropriation from the music of Claude Debussy. Bennett composes a theme and variations using the flute melody Syrinx (1913) to explore the boundaries between tonality and serial techniques. Druckman's six movements each represent a different physical state of water and constitute an homage to Debussy's Preludes (1910-13) through their musical language and imagery. The detailed analysis of these two scores reveals the compositional connections to Debussy, paying special attention to pitch organization and the development of each work's central motives. The analytical techniques utilized are dependent on the language of the composition itself, employing serial analysis in the case of After Syrinx II and a loose application of set theory for Reflections on the Nature of Water. Ultimately both works exhibit compositional similarities to Debussy in the treatment of specific pitch collections as referential sonorities, a correlation between smaller structural components and larger formal or tonal design, and an Impressionistic manner of representing their subjects.","Made available in DSpace on 2015-09-25T22:54:01Z (GMT). No. of bitstreams: 2 license.txt: 4848 bytes, checksum: 96035ab3f5e1c23cc7138a224ce498bd (MD5) 3301106.pdf: 5442763 bytes, checksum: e900647392a0f0f88332133d7f07f263 (MD5) Previous issue date: 2007","Embargo set by: Seth Robbins for item 87073 Lift date: Forever Reason: Restricted to the U of I community idenfinitely during batch ingest of legacy ETDs","Restricted to the U of I community idenfinitely during batch ingest of legacy ETDs","U of I Only","220 p.","Thesis (A.Mus.D.)--University of Illinois at Urbana-Champaign, 2007."],"dc:identifier":["http://hdl.handle.net/2142/85792","(MiAaPQ)AAI3301106"],"dc:language":["eng"],"dc:subject":["Music"],"dc:title":["Reflection of Debussy: A Comparative Analysis of Solo Marimba Works by Jacob Druckman and Richard Rodney Bennett"],"dc:type":["text"],"thesis:degree_discipline":["Music"],"thesis:degree_level":["Dissertation"],"thesis:degree_name":["A.Mus.D."],"thesis:institution_name":["University of Illinois at Urbana-Champaign"]},"updated_at":"2026-07-22T22:26:25Z"}