Lowell Liebermann: A stylistic analysis and discussion of the Sonata for Flute and Piano, op. 23, Sonata for Flute and Guitar, op. 25, and "Soliloquy" for flute solo, op. 44

Simple item page
dc.creatorGarner, Lisa Michelleen_US
dc.date.accessioned2007-08-21T01:46:48Zen_US
dc.date.available2007-08-21T01:46:48Zen_US
dc.date.issued1997en_US
dc.description.abstractThe compositional style of three chamber works for flute by Lowell Liebermann is explored through harmonic and formal analyses, an interview with the composer, Lowell Liebermann, and interviews with the flutists who commissioned the works, Paula Robison and Katherine Kemler. Liebermann's musical style, as represented in three chamber works, is explained as a continuation of Classical and Romantic traditions. Variants of the classic Sonata Allegro and Rondo forms are employed. Traditional techniques such as augmentation, diminution, retrograde and sequence are utilized. Contrast is provided by the composition of dramatically contrasting thematic material and frequent changes in texture. Works are tightly organized with cyclic material as well as thematic overlapping, fusion, and transformation. Tonally, Liebermann has combined functional harmony with polytonality. Although the tonal areas employed in these works are almost always closely related, each is usually combined with a second tonal region. For example, in the Sonata for Flute and Guitar, E major is usually superimposed on E minor. In the case of the Soliloquy, tonalities are combined to stress the important intervallic relationship of the tritone. The expressive abilities of the flute are drawn upon in Liebermann's approach to melody. The long, sustained lines of the lyrical sections are colored with a wide range of dynamics and therefore demand a high level of musical maturity from the performers. This is contrasted with fast, intensely rhythmical sections or movements which showcase technical virtuosity. All three works are well-constructed, sophisticated works of art, yet they are accessible to any audience. The Sonata for Flute and Piano and the Soliloquy for Flute Solo have already made their way into the standard flute repertoire. Liebermann has made a major contribution to the contemporary flute repertory.en_US
dc.format.mimetypeapplication/pdfen_US
dc.identifier.callnoThesis Music 1997 Garneren_US
dc.identifier.citationGarner, Lisa Michelle. "Lowell Liebermann: A stylistic analysis and discussion of the Sonata for Flute and Piano, op. 23, Sonata for Flute and Guitar, op. 25, and "Soliloquy" for flute solo, op. 44." (1997) Diss., Rice University. <a href="https://hdl.handle.net/1911/19160">https://hdl.handle.net/1911/19160</a>.en_US
dc.identifier.urihttps://hdl.handle.net/1911/19160en_US
dc.language.isoengen_US
dc.rightsCopyright is held by the author, unless otherwise indicated. Permission to reuse, publish, or reproduce the work beyond the bounds of fair use or other exemptions to copyright law must be obtained from the copyright holder.en_US
dc.subjectMusicen_US
dc.subjectMusic educationen_US
dc.titleLowell Liebermann: A stylistic analysis and discussion of the Sonata for Flute and Piano, op. 23, Sonata for Flute and Guitar, op. 25, and "Soliloquy" for flute solo, op. 44en_US
dc.typeThesisen_US
dc.type.materialTexten_US
thesis.degree.departmentMusicen_US
thesis.degree.disciplineMusicen_US
thesis.degree.grantorRice Universityen_US
thesis.degree.levelDoctoralen_US
thesis.degree.nameDoctor of Musical Artsen_US
Files
Original bundle
Now showing 1 - 1 of 1
Thumbnail Image
Name:
9727555.PDF
Size:
4.65 MB
Format:
Adobe Portable Document Format
Download
Collections
Rice University Theses and Dissertations