The twelve-tone method and the classical tradition in Roger Session's Symphony No. 3

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dc.contributor.advisorBurt, George
dc.creatorKoh, Tse-Ying
dc.date.accessioned2009-06-04T00:37:32Z
dc.date.available2009-06-04T00:37:32Z
dc.date.issued1995
dc.description.abstractPremiered by the Boston Symphony Orchestra on December 6, 1957, Sessions' Third Symphony was the first of his orchestral works to employ twelve-tone procedures. But while expressing the harmonic and melodic vocabulary of a twentieth-century non-tonal composer, Sessions also demonstrates an allegiance to classical tradition by employing classical forms and devices. The first and last movements approach a classic sonata form, the second movement is akin to a minuet or scherzo and trio, while the third consists of a theme and two variations. By integrating twelve-tone principles with traditional procedures, Sessions created a work that not only penetrated the future (of his time) but also paid homage to the past.
dc.format.extent79 p.en_US
dc.format.mimetypeapplication/pdf
dc.identifier.callnoTHESIS MUSIC 1995 KOH
dc.identifier.citationKoh, Tse-Ying. "The twelve-tone method and the classical tradition in Roger Session's Symphony No. 3." (1995) Master’s Thesis, Rice University. <a href="https://hdl.handle.net/1911/13965">https://hdl.handle.net/1911/13965</a>.
dc.identifier.urihttps://hdl.handle.net/1911/13965
dc.language.isoeng
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.
dc.subjectMusic
dc.titleThe twelve-tone method and the classical tradition in Roger Session's Symphony No. 3
dc.typeThesis
dc.type.materialText
thesis.degree.departmentMusic
thesis.degree.disciplineMusic
thesis.degree.grantorRice University
thesis.degree.levelMasters
thesis.degree.nameMaster of Music
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