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dc.identifier.urihttp://hdl.handle.net/1951/59900
dc.identifier.urihttp://hdl.handle.net/11401/71448
dc.description.sponsorshipThis work is sponsored by the Stony Brook University Graduate School in compliance with the requirements for completion of degree.en_US
dc.formatMonograph
dc.format.mediumElectronic Resourceen_US
dc.language.isoen_US
dc.publisherThe Graduate School, Stony Brook University: Stony Brook, NY.
dc.typeDissertation
dcterms.abstractEmbers from the Void for string quartet and voice is a work centered around the idea of transition, specifically the transition state of death. Each moment explores this idea through imagery of landscape, season, and space or, more precisely, forest, winter, and emptiness (the void). The poetry, self-authored, was written for and in conjunction with the music. The two are inseparable. A running theme that will be apparent in the text is "what lies beneath the surface." An aspect of this theme will be present in each movement and is itself a metaphor for both literary ideas and the theoretical foundation of the music. Musically, this work is at times sparse and relentlessly singular in process. In contrast, it is at times lush and complex. Within, there are moments in which the music could be classified as minimal, spectral, atonal, and quasi-tonal. Underlying all of this is a sole foundation that is the genesis of the entire work. This work, in practically every aspect, is formed from the geometry inherent in golden arithmetic. Proportions are guided by the golden ratio. Pitch, with rare exception, is derived from the Fibonacci sequence and similar additive number patterns that are themselves approximating, with ever increasing accuracy, the golden or "divine" proportion. On the surface Embers from the Void is seemingly simple and transparent, however, this simplicity is the result of golden geometry that is intricate and other-worldly yet familiar, and this transparency is the result of crystalline structures at the foundation of that very geometry. To understand this work, one must look beneath the surface of the unassuming fa?¼ade to the glint of gold that lies beyond.
dcterms.available2013-05-22T17:35:45Z
dcterms.available2015-04-24T14:47:35Z
dcterms.contributorSemegen, Dariaen_US
dcterms.contributorWinkler, Peter , Weymouth, Danielen_US
dcterms.contributorMueller, Robert.en_US
dcterms.creatorVandegriff, Matthew Michael
dcterms.dateAccepted2013-05-22T17:35:45Z
dcterms.dateAccepted2015-04-24T14:47:35Z
dcterms.dateSubmitted2013-05-22T17:35:45Z
dcterms.dateSubmitted2015-04-24T14:47:35Z
dcterms.descriptionDepartment of Musicen_US
dcterms.extent36 pg.en_US
dcterms.formatApplication/PDFen_US
dcterms.formatMonograph
dcterms.identifierhttp://hdl.handle.net/1951/59900
dcterms.identifierVandegriff_grad.sunysb_0771E_10843en_US
dcterms.identifierhttp://hdl.handle.net/11401/71448
dcterms.issued2012-05-01
dcterms.languageen_US
dcterms.provenanceMade available in DSpace on 2013-05-22T17:35:45Z (GMT). No. of bitstreams: 1 Vandegriff_grad.sunysb_0771E_10843.pdf: 644257 bytes, checksum: a6cb9a7205b3f6e8d86a9bde132703ca (MD5) Previous issue date: 1en
dcterms.provenanceMade available in DSpace on 2015-04-24T14:47:35Z (GMT). No. of bitstreams: 3 Vandegriff_grad.sunysb_0771E_10843.pdf.jpg: 1894 bytes, checksum: a6009c46e6ec8251b348085684cba80d (MD5) Vandegriff_grad.sunysb_0771E_10843.pdf.txt: 26328 bytes, checksum: 206659f842a1e4d1d53294ec9742dbdf (MD5) Vandegriff_grad.sunysb_0771E_10843.pdf: 644257 bytes, checksum: a6cb9a7205b3f6e8d86a9bde132703ca (MD5) Previous issue date: 1en
dcterms.publisherThe Graduate School, Stony Brook University: Stony Brook, NY.
dcterms.subjectdeath, fibonacci, golden geometry, poetry, string quartet, voice
dcterms.subjectMusic
dcterms.titleEmbers from the Void
dcterms.typeDissertation


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