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dc.contributor.authorHaber, Yotam Moshe
dc.date.accessioned2009-08-31T19:24:23Z
dc.date.available2009-08-31T19:24:23Z
dc.date.issued2004-05
dc.identifier.otherbibid: 6699378
dc.identifier.urihttps://hdl.handle.net/1813/13635
dc.description.abstractFranco Donatoni is best known for his works after about 1967, music that exemplifies an inventive, virtuousic style, often treating instruments in a brilliant, Baroque manner. Yet between 1962 and 1967, Franco Donatoni's musical style evolved from one marked by John Cage's aleatoric principles to a vigorously mechanistic style where an artisinal approach to composition was valued above the creative process. By the late 1970's, the negativity of total serialism and total aleatorism would be abandoned in favor of a new process that still retained elements of freedom and precision without being bound by them. This dissertation aims to show traits that Donatoni rejected and retained during these early years of transition.en_US
dc.language.isoenen_US
dc.publisherCornell universityen_US
dc.subjectchamber musicen_US
dc.subjectFranco Donatonien_US
dc.subjectaleatoryen_US
dc.subjectserialismen_US
dc.titleThree Chamber Music Works (Part I)en_US
dc.title.alternativeAleatory and Serialism in Two Early Works by Franco Donatoni (Part II)en_US
dc.typedissertation or thesisen_US


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