("Vishnu") by Alan Hovhaness, and "Kshetrajna"

225 Pages·2017·10.11 MB·English

by  Phillip Eugene Young

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LSU Historical Dissertations and Theses Graduate School
1990
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Phillip Eugene Young
Louisiana State University and Agricultural & Mechanical College
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Young, Phillip Eugene, "An Analysis of Symphony No. 19 ("Vishnu") by Alan Hovhaness, and "Kshetrajna",
an Original Composition for Orchestra." (1990). LSU Historical Dissertations and Theses. 4965.
https://digitalcommons.lsu.edu/gradschool_disstheses/4965
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Order Number 9104184
An analysis of Symphony No. 19 (“Vishnu”) by Alan
Hovhaness, and “Kshetregna”, an original composition for
orchestra
Young, Phillip E., D.M.A.
The Louisiana State University and Agricultural and Mechanical Col., 1990
U M I
300 N. Zeeb Rd.
Ann Arbor, MI 48106
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
An Analysis of Symphony Ko. 19 <Vishnu)
by Alan Hovhaness, and
Kshetra.lna. an Original Composition for Orchestra
A Dissertation
Submitted to the Graduate Faculty of the
Louisiana State University and
Agricultural and Mechanical College
In partial fulfillment of the
Requirements for the degree of
Doctor of Musical Arts
In
The School of Music
*>y
Phillip E. Young
Bachelor of Music, Mississippi College, 1981
Masters of Music, Louisiana State University, 1983
May 1990
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Acknowledgements
Examples from Alan Hovhaness, SYMPHOHY HO. 19 (VISHHU)
(Edition Peters 66044) <C> 1967 by C.F. Peters Corporation.
Used by Permission.
ii
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Table of Contents
Illustrations ............................................ iv
Abstract ..................................................vili
Introduction................................................1
Fart I. An Analysis of Symphony Ho. 19 -
(Vishnu) by Alan Hovhaness
Chapter
I. Formal Aspects and Scalar Resources.............5
II. "Senza Misura" Music............................ 14
III. Melody............................................32
IV. Vertical Sonorities............................. 71
Conclusion................................................84
Fart II. Kshetra.ina.
An Original Composition for Orchestra
Instrumentation .......................................... 88
Movement I ................................................89
Movement II ............................................. 129
Movement III ............................................ 163
Bibliography............................................ 209
Vita .....................................................210
ill
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I1lustrations
Figures
Chapter 1
1. Raga-like Scale ...................................9
2. Altered Pentatonic Scale .........................9
3. Pentatonic Scales in Fourth Mode ............... 10
Chapter 2
1. Motation of Rhythmless Passages................ 15
2. Divisi of First Violins.........................21
Chapter 3
1. Melody One .......................................34
2. Expansion of Fragment B .........................34
3. Interpolation of Fragment C .....................35
4. Pentatonic Scales in the Strings.................37
5. Pentatonic Scales in Fourth Mode .................37
6. Pentatonic Scales with Augmented Second..........38
7. Melody One as Canonic Melody .....................39
8. Second Appearance as Canonic Melody............40
9. Embellishment of Canonic Statement .............41
10. Expansion of Canonic Statement ................. 41
11. Transformation of Melody One ....................44
12. Sequential Treatment of Fragments.............. 44
13. Further Sequential Treatment ....................45
iv
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14. Development of Fragment A .......................45
15. Inexact Sequences................................47
16. Raga-like Scale Defining Melody T w o ............55
17. Incipit of Mielody T w o ........................... 55
18. Continuation of Melody T w o ......................56
19. Expansion of Melody T w o .........................56
20. Melody Two in Metered Context .................. 58
21. Continuation in Metered Context ................ 58
22. Three Basic Melodic Patterns....................59
23. Pitch Glidings and Arabesque Elements..........63
24. Expansion of Arabesque Elements................ 63
25. Parallel Period ..................................64
26. Rhythmic Signature .............................. 66
27. Expansion of Antecedent and Consequent .........67
28. Melody Two Designated "Hoble and Heroic” ...... 67
29. Melody Two in 12/8 Meter ........................68
30. Return to Melody Two in 5/4 Meter.............. 70
Chapter 4
1. Added-note Chords............................... 72
2. Drone-chord......................................73
3. Drone-chord on C ................................ 73
4. F 6/4 and Verticalized Pentatonic Scales...... 78
5. Verticalizations of Vhite-note Harmony.........78
6. "Constructed Chord" on F ........................81
7. F M/m with Added Flat Sixth.....................82
8. F 6/4 with Added Flat Fourth and Sixth.........82
v
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