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Music in the words :Fugue, sonata-allegro, thematic transformation, and counterpoint in the twentieth-century novel (Douglas Hofstadter, Anthony Burgess, England, James Joyce, Ireland)

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Music in the words :
其他題名:	Fugue, sonata-allegro, thematic transformation, and counterpoint in the twentieth-century novel (Douglas Hofstadter, Anthony Burgess, England, James Joyce, Ireland)
作者:	Shockley, Alan Frederick.
面頁冊數:	226 p.
附註:	Adviser: Scott Burnham.
附註:	Source: Dissertation Abstracts International, Volume: 65-01, Section: A, page: 0020.
Contained By:	Dissertation Abstracts International65-01A.
標題:	Music.
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3120437
ISBN:	0496678035

Music in the words :Fugue, sonata-allegro, thematic transformation, and counterpoint in the twentieth-century novel (Douglas Hofstadter, Anthony Burgess, England, James Joyce, Ireland)
Shockley, Alan Frederick.

Music in the words :Fugue, sonata-allegro, thematic transformation, and counterpoint in the twentieth-century novel (Douglas Hofstadter, Anthony Burgess, England, James Joyce, Ireland) [electronic resource] - 226 p.

Adviser: Scott Burnham.

Thesis (Ph.D.)--Princeton University, 2004.

After the detail of these three analyses, the scope of the text again pulls away, giving a brief overview of other attempts at musicalized form in novels and book-length poems of the late twentieth century.

ISBN: 0496678035Subjects--Topical Terms:

227185
Music.

Music in the words :Fugue, sonata-allegro, thematic transformation, and counterpoint in the twentieth-century novel (Douglas Hofstadter, Anthony Burgess, England, James Joyce, Ireland)
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520 # $a After the detail of these three analyses, the scope of the text again pulls away, giving a brief overview of other attempts at musicalized form in novels and book-length poems of the late twentieth century.
520 # $a Chapter three analyzes the "Sirens" episode of James Joyce's novel, Ulysses. Many non-musicians have completed musical analyses of this episode, but few musicians have really scrutinized the efficacy of fugue as analogue to the chapter. I argue that, while Joyce clearly attempts transforming the novel's prose into polyphony, he never attempts an academic fugue. Analyses that find specific pitches in letters, and rhythms in puns on their musical labels are simplistic, and always fall short of this episode's musical brilliance.
520 # $a Chapter two analyzes two brief works, one modeled after a Bach fugue, one after a Mozart symphony. The fugue comes from Douglas Hofstadter's Godel, Escher, Bach; the symphony (and---more specifically its opening sonata-allegro) is a short story by Anthony Burgess.
520 # $a My final analysis focuses, by contrast, on a very small excerpt of a large work. Here I scrutinize a few lines of text from James Joyce's Finnegans Wake, which I examine as an attempt at composing a fully musicalized language. In this dense text, contrapuntal lines intersect within single words and contrapuntal vertices appear even within single phonemes of Joyce's polyglot neologisms.
520 # $a The second large-scale analysis tackles Anthony Burgess' 1973 novel Napoleon Symphony: A Novel in Four Movements. In addition to being a prolific novelist and essayist, Burgess was a composer who completed symphonic and chamber works throughout his adult life. He patterned Napoleon Symphony on Beethoven's Eroica Symphony.
520 # $a There is a strong tradition of literary analyses of the musical artwork. Simply put, musicology-any writing about music-is an attempt at making analogies between what happens within the world of sound and language itself. This document considers this analogy from the opposite perspective: authors attempting to structure words using musical forms and techniques. The introduction narrows the body of literary works I will discuss, briefly surveys some works preceding the 1900s and some large-scale poems that fall outside the scope of this document.
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