Date of Award

Spring 5-1-1992

Document Type

Thesis

Degree Name

Master of Arts (MA)

Department

Music

First Advisor

Virginia Hancock

Second Advisor

David H. Watkins

Third Advisor

William Hughes

Abstract

This study investigates American composer George Crumb's employment of musical quotation in his works from 1962 to 1985. The thesis also contains a brief biography of the composer and overviews of his major compositional style traits and his musical influences. Because Crumb often quotes from the same composers and musics that have influenced his musical style, the subject musical influences is related to the main thesis, musical quotation. Also, Crumb sometimes borrows a specific gesture from another composer's work without actually quoting it--that is making significant note and/or rhythm alterations; this type of borrowing is described by Crumb as a "quasi-quotation" and is considered in the chapter on musical influences. Each of Crumb's more literal quotations, almost all of which are cited in the scores, is compared to the original or traditional version. Any way in which Crumb alters the melody, harmony, rhythm, instrument or playing technique, and key of the quotation is discussed. The main focus of the study is Crumb's compositional use of quotation: its symbolic meaning; restatements of the quotation (if any): the use of the timbre of the quotation in the context of the remainder of the section, movement, or piece; the integration of the meter, tempo, and rhythm of the quotation; the relationship of the melodic and harmonic language of the quotation to surrounding material; the inclusion of material that overlaps the quotation; and the structural role of the quotation. iv Crumb's works in the designated years include thirteen quotations, which are mostly from art music. In general, Crumb alters quotations only slightly and seldom changes pitches other than notes in accompanimental voices. Most of Crumb's quotations are distorted by the inclusion of overlapping material which usually contrasts the quotation. Crumb claims that the melodies of his quotations are usually not integrated into their context; however, it was found in this study that several of the melodies resemble surrounding material in some way. Although Crumb repeats and later restates quasi-quotations, he includes recurrences of quotations sparingly. By drawing from music of the past, Crumb usually provides a distinct contrast between the traditional harmonic, melodic, and rhythmic language of his quotations and those of his own musical vocabulary.

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