An examination of the theories and compositions of James Tenney, 1982-1985
Belet, Brian
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Permalink
https://hdl.handle.net/2142/19798
Description
Title
An examination of the theories and compositions of James Tenney, 1982-1985
Author(s)
Belet, Brian
Issue Date
1990
Doctoral Committee Chair(s)
Tipei, Sever
Department of Study
Music
Discipline
Music
Degree Granting Institution
University of Illinois at Urbana-Champaign
Degree Name
D.M.A.
Degree Level
Dissertation
Keyword(s)
Music
Language
eng
Abstract
This paper examines the theoretical concepts and compositional procedures used by James Tenney in his compositions of the early and mid-1980's. Some of Tenney's earlier writings and compositions are also examined as precursors to his later works. The primary compositions examined in this paper include Glissade, Koan for String Quartet, Bridge, and Changes: Sixty-four Studies for Six Harps.
This paper examines Tenney's theoretical contributions to musical form, harmony, tuning, and aural perception. Tenney's works are presented as rigorous experiments and focused explorations of specific musical concepts and questions. The four primary works examined are presented as the culmination of almost thirty years of such experiments.
Tenney is presented as a contemporary musical pioneer in the continuing tradition of American experimentalism that began with Charles Ives and continued with Carl Ruggles and John Cage.
The author concludes that James Tenney is a major American composer whose past and on-going contributions to theory, perception, and composition are too important to be ignored in contemporary performance and scholarly circles.
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