Gian Francesco Malipiero: The genesis of his symphonic works (1905-1906)

Philip William Shields

Research output: ThesisMaster's Thesis

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Abstract

Analytical comparison of Gian Francesco Malipiero's earliest symphonic scores, Sinfonia degli eroi (1905) and Sinfonia del mare (1906) shows a transition from a musical language grounded in Germanic models to one absorbing the very modern French school lead by Fauré and Debussy. Taking place against an evolving love of linearity from early Italian sources, shifts occur from continuous to discontinuous form, from functionally driven textures to those that are formally static while contrapuntally active and fluid. Rejecting the language of Italian opera, the first work comes under the influence of Richard Strauss. The second work, however, shows that of Debussy.
Original languageEnglish
QualificationMasters
Awarding Institution
  • The University of Western Australia
Thesis sponsors
Award date4 Feb 2019
DOIs
Publication statusUnpublished - 2019

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Claude Debussy
Genesis
Texture
Musical Language
Italian Opera
Richard Strauss
Linearity
Language

Cite this

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abstract = "Analytical comparison of Gian Francesco Malipiero's earliest symphonic scores, Sinfonia degli eroi (1905) and Sinfonia del mare (1906) shows a transition from a musical language grounded in Germanic models to one absorbing the very modern French school lead by Faur{\'e} and Debussy. Taking place against an evolving love of linearity from early Italian sources, shifts occur from continuous to discontinuous form, from functionally driven textures to those that are formally static while contrapuntally active and fluid. Rejecting the language of Italian opera, the first work comes under the influence of Richard Strauss. The second work, however, shows that of Debussy.",
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school = "The University of Western Australia",

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Gian Francesco Malipiero: The genesis of his symphonic works (1905-1906). / Shields, Philip William.

2019.

Research output: ThesisMaster's Thesis

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AB - Analytical comparison of Gian Francesco Malipiero's earliest symphonic scores, Sinfonia degli eroi (1905) and Sinfonia del mare (1906) shows a transition from a musical language grounded in Germanic models to one absorbing the very modern French school lead by Fauré and Debussy. Taking place against an evolving love of linearity from early Italian sources, shifts occur from continuous to discontinuous form, from functionally driven textures to those that are formally static while contrapuntally active and fluid. Rejecting the language of Italian opera, the first work comes under the influence of Richard Strauss. The second work, however, shows that of Debussy.

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KW - program music

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KW - melodic linearity

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