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

dc.contributor.advisorBurt, Georgeen_US
dc.creatorKoh, Tse-Yingen_US
dc.date.accessioned2009-06-04T00:37:32Zen_US
dc.date.available2009-06-04T00:37:32Zen_US
dc.date.issued1995en_US
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.en_US
dc.format.extent79 p.en_US
dc.format.mimetypeapplication/pdfen_US
dc.identifier.callnoTHESIS MUSIC 1995 KOHen_US
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>.en_US
dc.identifier.urihttps://hdl.handle.net/1911/13965en_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.titleThe twelve-tone method and the classical tradition in Roger Session's Symphony No. 3en_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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