Al-Zand, Karim2020-04-232020-04-232020-052020-04-22May 2020Lin, Natalie. "Eclecticism, Evolution, and Return in Leonard Bernstein’s Serenade for Solo Violin, Strings, Harp, and Percussion." (2020) Diss., Rice University. <a href="https://hdl.handle.net/1911/108353">https://hdl.handle.net/1911/108353</a>.https://hdl.handle.net/1911/108353Leonard Bernstein’s Serenade (after Plato’s “Symposium”) for Solo Violin, Strings, Harp and Percussion (1954) draws influences and sources from an eclectic array of musical traditions, styles, and genres, revealing elements from American vernacular styles, including jazz, musical theater and other dramatic genres, as well as from the Western classical tradition, including the violin concerto, the symphony, solo piano music, and the sacred. Underpinning the work is the composer’s own ideals about American modern music and a pedagogical agenda that is consistent with the composer’s broader musical career. This study examines how these various and otherwise disparate musical elements are woven together through two governing sets of compositional principles: evolution and continuity; return and balance. While seemingly opposing, these principles work together to bring cohesion and consistent compositional procedures to the entire work, as well as contribute to the Serenade’s rich musical narrative.application/pdfengCopyright 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.Leonard BernsteinBernsteinViolin ConcertoViolin PerformanceAmerican MusicEclecticismThesis2020-04-23