Sketches of elegy and praise

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dc.contributor.advisorMilburn, Ellsworthen_US
dc.contributor.committeeMemberCooper, Paulen_US
dc.contributor.committeeMemberJones, Samuelen_US
dc.creatorJones, Kerry Nelsonen_US
dc.date.accessioned2018-12-18T21:34:09Zen_US
dc.date.available2018-12-18T21:34:09Zen_US
dc.date.issued1982en_US
dc.description.abstractSketches of Elegy and Praise is an orchestral work, approximately twenty minutes in duration, cast in five movements of nearly equal length. Each movement is a miniature portrait of a person (or persons) now deceased, who was influential in the composer's life. The first movement, A Forgotten Graveyard, uses air sounds from the brass, sinuous melodic lines in the oboe and alto flute, and sustained harmonies in the strings and winds to evoke images of the weed-choked graveyard which is all that remains of Buchanan, Texas. Movement two, A FriendĀ» uses block brass and woodwind choral effects to convey the solidity of a reliable friend. This movement is interrupted by an elegiac chorale for solo winds and string quartet, after which the previous material is recalled in a comĀ¬ pressed form. The Sages, the third movement, commemorates several men who were advanced in years when the composer was quite young. The use of polyphonic and canonic technique, framed by brass and percussion fanfares at the beginning and end, contrasts the wisdom and dignity of age with the exuberance of youth. The middle section, in addition to canonic technique, employs a Renaissance formal procedure - the use of overlapped points of imitation. Movement four, A Young Athlete, uses driving motor rhythm, tutti unisons and brass choir block effects to evoke the perpetual motion and lean muscularity of a young athlete. The abrupt ending and truncated form suggest the tragedy of a life cut short. The final movement, Of Yesterday, utilizes multiple ostinati to suggest the continuity from generation to generation in commemorating several people whose death preceded the composer's "birth hut who were very influential nonetheless. The movement ends with a section recalling the opening of the piece. Harmonically and melodically, the work is generated from two series of pitches. Sketches is scored for a moderately large orchestra, using flutes, oboes and clarinets in threes (with the third player doubling on alto flute, English horn and bass clarinet, respectively), two bassoons, four horns, three trumpets (in C), three trombones, tuba, timpani, percussion (bass drum, tam-tam, xylophone, tom-toms, four suspended cymbals (small, medium, large and sizzle), crash cymbals, celeste, vibraphone, temple blocks, wind chimes) and strings.en_US
dc.format.digitalOriginreformatted digitalen_US
dc.format.extent93 ppen_US
dc.identifier.callnoThesis Music 1982 Jonesen_US
dc.identifier.citationJones, Kerry Nelson. "Sketches of elegy and praise." (1982) Masterā€™s Thesis, Rice University. <a href="https://hdl.handle.net/1911/104879">https://hdl.handle.net/1911/104879</a>.en_US
dc.identifier.digitalRICE2525en_US
dc.identifier.urihttps://hdl.handle.net/1911/104879en_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.titleSketches of elegy and praiseen_US
dc.typeThesisen_US
dc.type.materialTexten_US
thesis.degree.departmentMusicen_US
thesis.degree.disciplineMusicen_US
thesis.degree.grantorRice Universityen_US
thesis.degree.levelMastersen_US
thesis.degree.nameMaster of Musicen_US
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