| Roused by the expressiveness and structural balance of Witold Lutoslawski's late period works, this dissertation investigates the expressive qualities of Partita's Largo movement. In this study, a meta-theoretical approach is employed. As part of this aesthetic inquiry, philosophical inquiry and historical research are utilized as well.;Beginning with aesthetic inquiry, this portion of the dissertation unfolds with three layers of data on Lutoslawski. Chapter I covers historical and stylistic contextualization of Lutoslawski's late period, while the following chapter focuses on the biography and stylistic periods of Lutoslawski. This segues from a discussion on the literature that addresses Partita's expressiveness into the philosophical element of the meta-theoretical inquiry. The philosophical portion covers Peter Kivy's resemblance theory of emotional expression in music. Also known as his contour theory, it treats emotions in music as perceived structural properties.;After Kivy's theory of contour and convention is examined, Chapter IV brings about the second stage of this dissertation. This portion fans out into numerous layers as Kivy is incorporated into a meta-theoretical method designed to effectively discuss the expressive structures in the Largo of Partita. Thus far, the information leading up to Chapter V culminates in a two-part analysis of the Largo where the first part is a conventional formal analysis and the second part is an expressive analysis. The findings from these two analyses have commonalities as well as disparities. These are discussed in the meta-critical Chapter VI.;More than a coda, Chapter VI functions as a climactic note to the philosophical inquiry in this dissertation. Conclusions and criticism are drawn that address Kivy's theory of contour and convention. (Abstract shortened by UMI.)... |
