The Separability Thinking In Elliott Carter’s Music(Selected Period Of 1945-1975)

This thesis chooses the music composition of American modernist composer Elliot Carter(1908-2012)from 1945 to 1974 as the object,focuses on separability thinking in his music,and studies its formation,development and techniques.Carter is known as one of the greatest modern composers in the United States.he has a very long life and a long compositional career,almost throughout the 20 th century,and his rich music property is of great value.After experiencing the early neoclassical style,Carter devoted himself to the cause of opening up his own creative path.since the late 1940 s,his works have received attention for their distinctive personal characteristics and extraordinary rhythm techniques.and won many awards.Starting from the chamber music Sonata for Violoncello and Piano(1948),the texture levels of opposing characters are superimposed together simultaneously,which becomes the main form of Carter’s works,which brings a strong sense of separation and reflects Carter’s unique thinking of separation.This paper chooses Carter’s separability musical thinking in this period as the research object,because the thinking of separation has become the basic thinking of all Carter’s composition since1948.It is the core of genre selection,music conception and composing techniques in all Carter’s music composition in this period.The composition under the separability thinking always has clear linear structure,elaborate counterpoint technique,the exquisite expression effect and the complex sound.In order to pursue the maximum expression of separation,he gave up instrumental solo genre and vocal genre,concentrated on traditional chamber music and concerto genres,developed separation techniques based on different musical elements,and tried to strengthen separability through spatial dimensions.This paper will be divided into four chapters.the first chapter defines what is the separation in music and the main characteristics of separation in music from the perspectives of musical time and space,and discusses the embodiment of separability in the specific music before Carter,then discusses the separability thinking in Carter’s music and traces its main source.The second chapter traces the development process of separability thinking through three specific works of Carter.The third chapter explores Carter’s separability writing techniques.The last chapter evaluates the separability thinking in Carter’s music.The final conclusion is a brief review of the thesis and a value evaluation of the research on separability thinking.