An investigation into the relationship of instrumental density and dynamics of the Fourth Symphony by Charles Ives.
AuthorGlarner, Robert Lewis.
Committee ChairKolosick, J. Timothy
MetadataShow full item record
PublisherThe University of Arizona.
RightsCopyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author.
AbstractThis research establishes an initial step in codifying a specific and formalized textural theory of music by developing a basic system for illuminating textural activity. The musical elements integral to this system include the rhythm, instrumental groups, and dynamics. In order to study the texture of Ives' Fourth Symphony, instruments are grouped together based upon similar rhythmic patterns. Individual instruments with no rhythmic relationship to any other instrumental part are labeled soloistic. Each group and solo part is considered either cooperative or antagonistic based upon rhythmic similarities/dissimilarities to other groups and solo parts. The changes in the number of groups, their instrumentation, and the solo instruments have a striking effect on the overall dynamic structure of the movement. Generally, the groups and soloistic instruments are more antagonistic in sections that are either building or have reached a dynamic climax. However, consistent principles of order for predicting such occurrences are not always present. A large amount of data is gathered in order to generate the graphic representations of each movement's texture. Graphs illustrate the number of instruments playing at any given time, how they are grouped, the number of soloistic instruments, their duration, and the perceived dynamics. The graphs aid in producing some overall observations and uncover additional details concerning the formal structure of this symphony resulting in a clearer understanding of Ives' methodology and organizational principles. For purposes of reference and discussion, the symphony is divided into sections according to the overall dynamic curve. Specifically, the points at which crescendos and diminuendos begin and end represent natural delineating areas.