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| 035 | ⊔ | ⊔ | ‡asdr-osu.b53909379 |
| 035 | ⊔ | ⊔ | ‡a(OCoLC)47217964 |
| 035 | ⊔ | ⊔ | ‡a.b53909379 |
| 040 | ⊔ | ⊔ | ‡aOSU ‡beng ‡erda ‡cOSU ‡dOCLCQ ‡dOCLCG ‡dUMI ‡dOCLCQ ‡dOSU |
| 049 | ⊔ | ⊔ | ‡aOSUU |
| 099 | ⊔ | ⊔ | ‡aTHE:MSC2001DMAD566 |
| 100 | 1 | ⊔ | ‡aDippre, Keith Gregory, ‡d1960- ‡eauthor. |
| 245 | 1 | 0 | ‡aCompositional issues with Corigliano, Oliveros, and Kernis / ‡cby Keith Gregory Dippre. |
| 264 | ⊔ | 1 | ‡a[Columbus] : ‡bOhio State University, ‡c2001. |
| 300 | ⊔ | ⊔ | ‡axiii, 75 leaves : ‡billustrations. |
| 336 | ⊔ | ⊔ | ‡atext ‡btxt ‡2rdacontent. |
| 337 | ⊔ | ⊔ | ‡aunmediated ‡bn ‡2rdamedia. |
| 338 | ⊔ | ⊔ | ‡avolume ‡bnc ‡2rdacarrier. |
| 502 | ⊔ | ⊔ | ‡bD.M.A. ‡cOhio State University ‡d2001. |
| 504 | ⊔ | ⊔ | ‡aIncludes bibliographical references (leaves 74-75) |
| 520 | 3 | ⊔ | ‡aSome of the questions were specifically directed at the artists and their own works. For instance, Oliveros was asked what initially attracted her to the accordion and what is useful about the instrument from a compositional standpoint. She comments on how such an instrument plays a role in her improvisational approach to composition. Corigliano was asked if he had been influenced by Lutoslawski in his use of controlled aleatory, and if he had personal reasons for creating special notation, such as the 'Morse Code' symbol found in the Clarinet Concerto. Kernis, representing a younger generation of composers, explains why he views 'eclectic' as a safe description of his style. The conclusion provides further reflection on crucial issues and the author's observations drawn from the three interviewees. In addition, the final chapter incorporates contrasting views from composers Luciano Berio and Pierre Boulez to provide a more global perspective on the issues. |
| 520 | 3 | ⊔ | ‡aThe composers, John Corigliano, Pauline Oliveros, and Aaron Jay Kernis, were interviewed by phone on December 10th, 1999, June 8th, 2000, and September 4th, 2000, respectively. Through these interviews the author intended to obtain an accurate barometer on some of the mainstream, as well as, marginal compositional attitudes in the early twenty first century. These three artists represent a diverse and multigenerational cross section of American composers. The introduction provides the author's personal reflections on some of the more crucial issues facing today's composer. What is the future of the orchestral medium, and how should composers use it? What should be the composer's role in society? Is there an over-saturation of CDs on the market, and to what extent should the composer use modern technology? Is it practical to combine elements of popular music with so-called 'high culture', and if so, which are more fruitful than others? |
| 538 | ⊔ | ⊔ | ‡aMode of access: Internet. |
| 590 | ⊔ | ⊔ | ‡aAlso on microfiche. 2 sheets. |
| 590 | ⊔ | ⊔ | ‡aAdvisor: Jan Radzynski, School of Music. |
| 700 | 1 | ⊔ | ‡aRadzynski, Jan, ‡edegree supervisor. |
| 710 | 2 | ⊔ | ‡aOhio State University. ‡bSchool of Music, ‡edegree-granting institution. |
| 776 | 0 | 8 | ‡iOnline version: ‡aDippre, Keith Gregory, 1960- ‡tCompositional issues with Corigliano, Oliveros, and Kernis ‡w(OCoLC)967344227. |
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| 974 | ⊔ | ⊔ | ‡bOU ‡cOSU ‡d20240804 ‡sgoogle ‡uosu.32435083138115 ‡y2001 ‡ric ‡qbib ‡tUS bib date1 >= 1930 |