by Colwell, Clayton P.

Abstract (Summary)
We all have a double, that side of us that is always lingering, suspended in the back of our minds like a marionette, embodying all we wish we could be, say, and do. Usually this puppet is trussed up securely in the psyche, controlled by our confident sense of right and wrong, our moral obligations, or our knowledge of what society will accept and reject. What happens when this double breaks free from the strings that hold it safe in our brains? What if we came face to face with the double, perhaps on a stormy night, on a bridge over a river, on the way home after another heartbreaking episode of social embarrassment? Might there be a bit of intrigue? Attraction? Fear? Would there be an urge to embrace our double in this time of despair, or to reject it, just as society might reject us? Ten pitches are used to open this piece. There are two aggregates within this group of ten. The first aggregate (A) consists of 6 pitches, sonically based on an aeolian scale. The second aggregate (B) consists of 4 pitches sounding in harmonic opposition to A. The remaining two pitches of the Western musical scale are used as modulation points for the entire 10-note row. All ten pitches are presented as the piece opens, representing the existence of of two sides of our psyches. A is then expanded and developed rhythmically and melodically, while B is slowly interspersed within the framework of A's development, until both are played simultaneously and the double (B) is as present and affecting as A (our moral consciousness). The final section of the piece finds the original 10-note row presented in melodic and rhythmic retrograde, the viola struggling to keep a sense of reality with a fading d as the double continues to make itself heard.
Bibliographical Information:


School:University of Cincinnati

School Location:USA - Ohio

Source Type:Master's Thesis

Keywords:chamber orchestra vocal masters thesis


Date of Publication:01/01/2001

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