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Entangled Dualisms: Music and Text in Kate Soper's Only the Words Themselves Mean What They Say
Entangled Dualisms: Music and Text in Kate Soper's Only the Words Themselves Mean What They Say
상세정보
- 자료유형
- 학위논문 서양
- 최종처리일시
- 20260202105126
- ISBN
- 9798293845576
- DDC
- 781
- 서명/저자
- Entangled Dualisms: Music and Text in Kate Sopers Only the Words Themselves Mean What They Say
- 발행사항
- [Sl] : University of Rochester, 2025
- 발행사항
- Ann Arbor : ProQuest Dissertations & Theses, 2025
- 형태사항
- 58 p
- 주기사항
- Source: Dissertations Abstracts International, Volume: 87-03, Section: A.
- 주기사항
- Includes supplementary digital materials.
- 주기사항
- Advisor: Zohn-Muldoon, Ricardo;Sammoutis, Evis.
- 학위논문주기
- Thesis (Ph.D.)--University of Rochester, 2025.
- 초록/해제
- 요약In her piece Only the Words Themselves Mean What They Say (2010-11) for soprano and flute (doubling piccolo and bass flute), Kate Soper achieves a unique sort of compositional "alchemy": the voice and the flute(s) seem to merge into a single hybrid "superinstrument." This dissertation analyzes the devices that Soper employs to interweave the voice and flute lines throughout the work. I argue that the accumulation of these localized effects in individual passages projects the illusion of a single heterophonic "superinstrumental line" that spans the work. In each of the three short stories that form the text of Only the Words, Lydia Davis joins two seemingly incompatible halves of a single aspect of the human experience in a relationship from which neither part is easily extricated, creating what I call an "entangled dualism." My analysis culminates in an interpretation of Soper's superinstrumental line as a comment upon these dualisms. Edward T. Cone's conception of the composer's persona provides a useful framework to probe this relationship between Davis's stories and Soper's settings. The narrator's personas implied by the three texts are characterized by tensions yielded by the entangled dualisms. I argue that Soper's combination of the voice and flute lines into the superinstrumental line lends the composer's persona projected by Only the Words a similar tension of intertwined but irreconcilable forces. Thus, the composer's persona projected by the piece parallels the narrators' personas projected by Davis's stories, suggesting an integrated text-music relationship that unfolds over the duration of the work.
- 일반주제명
- Musical composition
- 일반주제명
- Music
- 일반주제명
- Fine arts
- 키워드
- Flute lines
- 기타저자
- University of Rochester Eastman School of Music
- 기본자료저록
- Dissertations Abstracts International. 87-03A.
- 전자적 위치 및 접속
- 로그인 후 원문을 볼 수 있습니다.
MARC
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■020 ▼a9798293845576
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■040 ▼aMiAaPQ▼cMiAaPQ
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■1001 ▼aHolcomb, Patrick.▼0(orcid)0009-0007-3438-9789
■24510▼aEntangled Dualisms: Music and Text in Kate Soper's Only the Words Themselves Mean What They Say
■260 ▼a[Sl]▼bUniversity of Rochester▼c2025
■260 1▼aAnn Arbor▼bProQuest Dissertations & Theses▼c2025
■300 ▼a58 p
■500 ▼aSource: Dissertations Abstracts International, Volume: 87-03, Section: A.
■500 ▼aIncludes supplementary digital materials.
■500 ▼aAdvisor: Zohn-Muldoon, Ricardo;Sammoutis, Evis.
■5021 ▼aThesis (Ph.D.)--University of Rochester, 2025.
■520 ▼aIn her piece Only the Words Themselves Mean What They Say (2010-11) for soprano and flute (doubling piccolo and bass flute), Kate Soper achieves a unique sort of compositional "alchemy": the voice and the flute(s) seem to merge into a single hybrid "superinstrument." This dissertation analyzes the devices that Soper employs to interweave the voice and flute lines throughout the work. I argue that the accumulation of these localized effects in individual passages projects the illusion of a single heterophonic "superinstrumental line" that spans the work. In each of the three short stories that form the text of Only the Words, Lydia Davis joins two seemingly incompatible halves of a single aspect of the human experience in a relationship from which neither part is easily extricated, creating what I call an "entangled dualism." My analysis culminates in an interpretation of Soper's superinstrumental line as a comment upon these dualisms. Edward T. Cone's conception of the composer's persona provides a useful framework to probe this relationship between Davis's stories and Soper's settings. The narrator's personas implied by the three texts are characterized by tensions yielded by the entangled dualisms. I argue that Soper's combination of the voice and flute lines into the superinstrumental line lends the composer's persona projected by Only the Words a similar tension of intertwined but irreconcilable forces. Thus, the composer's persona projected by the piece parallels the narrators' personas projected by Davis's stories, suggesting an integrated text-music relationship that unfolds over the duration of the work.
■590 ▼aSchool code: 0188.
■650 4▼aMusical composition
■650 4▼aMusic
■650 4▼aFine arts
■653 ▼aFlute lines
■653 ▼aNarrators' personas
■690 ▼a0214
■690 ▼a0357
■690 ▼a0413
■71020▼aUniversity of Rochester▼bEastman School of Music.
■7730 ▼tDissertations Abstracts International▼g87-03A.
■790 ▼a0188
■791 ▼aPh.D.
■792 ▼a2025
■793 ▼aEnglish
■85640▼uhttp://www.riss.kr/pdu/ddodLink.do?id=T17359488▼nKERIS▼z이 자료의 원문은 한국교육학술정보원에서 제공합니다.
