Motives, Allusions, and Eclecticism: A Panametric Analysis of the First Movement of Christian Lindberg's Mandrake in the Corner Based on the Method of Jan LaRue

For more than 20 years, Christian Lindberg has been internationally recognized as the premiere trombone soloist of our time. Few, however, are familiar with his compositions. For over ten years, he has composed many solo and ensemble works for trombone. Many prominent musical organizations in the world have performed Lindberg's music, including the Chicago Symphony Orchestra, the St. Paul Chamber Orchestra, and the University of North Texas Wind Ensemble. Today, Christian Lindberg has commission requests up to 2010. Christian Lindberg completed Mandrake in the Corner, a three movement concerto for trombone, in 1999. The purpose of this dissertation is to present an analysis of the first movement of Mandrake in the Corner to provide the first in depth study of Lindberg's compositional style. This analysis borrows freely from the method of Jan LaRue, which focuses on sound, harmony, melody, rhythm, and growth of musical structure on the small, middle, and large levels. The focus of this study centers on the aspects of melody, harmony, and rhythm to explain how the piece works despite the lack of a second theme or change of key in the first movement.

Grantor dc:publisher

University of North Texas

Year dc:date

2007

Author dc:creator

• Underwood, Michael

Contributors dc:contributor

• Kagarice, Vern
• Phipps, Graham Howard
• Klein, Joseph, 1962-

• motives
• eclecticism
• allusims
• music theory
• composition
• magician
• Lindberg, Christian. Mandrake in the corner.

Statement dc:rights

• Public
• Copyright
• Underwood, Michael
• Copyright is held by the author, unless otherwise noted. All rights reserved.

Language dc:language

English

Identifier

oclc: 181156851
https://digital.library.unt.edu/ark:/67531/metadc3603/
ark: ark:/67531/metadc3603

OAI identifier oai:identifier

info:ark/67531/metadc3603