{"id":{"repo_id":"uno","oai_identifier":"oai:scholarworks.uno.edu:td-1472"},"canonical_url":"https://search.dev.ndltd.org/etd/uno/oai:scholarworks.uno.edu:td-1472","repository":{"repo_id":"uno","name":"University of New Orleans","base_url":"https://scholarworks.uno.edu/do/oai/"},"display":{"title":"Möbius: for Orchestra","abstract":"Möbius: for Orchestra attempts to explore an alternative use of the material that typically appears in the development section of a piece composed in sonata form. By using the modified themes in the recapitulation rather than disregarding them entirely, the A-B-A' form of the basic sonata becomes more of an A-B-(A'+B'). Much like the mathematical function this piece is named after – a loop whose ending is never identical to its beginning and whose mirror-image lacks symmetry – the listener is brought to a new ending with familiar, non-repeated material. Many times throughout the piece, the listener will hear up to three tonal centers at once, though differences in range, color, texture and dynamics give the effect of a single tonal center with a certain amount of unease. Ostinatos and long notes also help to dissuade the ear from settling on a comfortable sound, ending with uncertainty, much like it began.","abstract_html":"Möbius: for Orchestra attempts to explore an alternative use of the material that typically appears in the development section of a piece composed in sonata form. By using the modified themes in the recapitulation rather than disregarding them entirely, the A-B-A' form of the basic sonata becomes more of an A-B-(A'+B'). Much like the mathematical function this piece is named after – a loop whose ending is never identical to its beginning and whose mirror-image lacks symmetry – the listener is brought to a new ending with familiar, non-repeated material. Many times throughout the piece, the listener will hear up to three tonal centers at once, though differences in range, color, texture and dynamics give the effect of a single tonal center with a certain amount of unease. Ostinatos and long notes also help to dissuade the ear from settling on a comfortable sound, ending with uncertainty, much like it began.","abstract_has_math":false,"creators":["Cipolone, Anthony Dominic-Paul"],"institution":null,"degree_name":"M.M.","degree_level":"Thesis","degree_discipline":"Music","degree_department":null,"school":null,"contributors":["Sieg, Jerry","Taylor, Charles","Williams, Robin"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2006,"date_issued":"2006-12-15T08:00:00Z","date_published":"2006-12-15T08:00:00Z","updated_at":"2026-07-24T05:28:22Z","subjects":[],"languages":[],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"https://scholarworks.uno.edu/td/472","outbound_label":"Repository record","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Sieg, Jerry","Taylor, Charles","Williams, Robin"]},{"key":"dc:creator","label":"Author","values":["Cipolone, Anthony Dominic-Paul"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"thesis:degree_discipline","label":"Discipline","values":["Music"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Thesis"]},{"key":"thesis:degree_name","label":"Degree Name","values":["M.M."]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["https://scholarworks.uno.edu/td/472"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["Möbius: for Orchestra attempts to explore an alternative use of the material that typically appears in the development section of a piece composed in sonata form. By using the modified themes in the recapitulation rather than disregarding them entirely, the A-B-A' form of the basic sonata becomes more of an A-B-(A'+B'). Much like the mathematical function this piece is named after – a loop whose ending is never identical to its beginning and whose mirror-image lacks symmetry – the listener is brought to a new ending with familiar, non-repeated material. Many times throughout the piece, the listener will hear up to three tonal centers at once, though differences in range, color, texture and dynamics give the effect of a single tonal center with a certain amount of unease. Ostinatos and long notes also help to dissuade the ear from settling on a comfortable sound, ending with uncertainty, much like it began."]},{"key":"dc:title","label":"Title","values":["Möbius: for Orchestra"]}]}],"canonical_facts":{"dc:contributor":["Sieg, Jerry","Taylor, Charles","Williams, Robin"],"dc:creator":["Cipolone, Anthony Dominic-Paul"],"dc:description.abstract":["Möbius: for Orchestra attempts to explore an alternative use of the material that typically appears in the development section of a piece composed in sonata form. By using the modified themes in the recapitulation rather than disregarding them entirely, the A-B-A' form of the basic sonata becomes more of an A-B-(A'+B'). Much like the mathematical function this piece is named after – a loop whose ending is never identical to its beginning and whose mirror-image lacks symmetry – the listener is brought to a new ending with familiar, non-repeated material. Many times throughout the piece, the listener will hear up to three tonal centers at once, though differences in range, color, texture and dynamics give the effect of a single tonal center with a certain amount of unease. Ostinatos and long notes also help to dissuade the ear from settling on a comfortable sound, ending with uncertainty, much like it began."],"dc:identifier":["https://scholarworks.uno.edu/td/472"],"dc:title":["Möbius: for Orchestra"],"thesis:degree_discipline":["Music"],"thesis:degree_level":["Thesis"],"thesis:degree_name":["M.M."]},"updated_at":"2026-07-24T05:28:22Z"}