Texture and Form in Beat Furrer’s Music: An analysis of Presto, and A due

Frequently used techniques between the compositions of one specific composer can cause recognizability. It is conceivable to tie compositions to their creator by detecting similar compositional approaches or certain specific techniques and craftsmanship. One of the ways of developing a certain character as a composer is rooted in elaborating and emphasizing a limited number of compositional materials in different frameworks. This thesis aims to show Beat Furrer’s écriture in two of his 1997’s works, Presto and a due, which have several common elements and similar approaches in their compositional process. Besides, the thesis traces Furrer’s approach towards compositional crafts in both pieces to explore the gathering of his techniques in using patterns. In these pieces, his patterns’ organization includes pitch, pitch class, interval, and rhythmic patterns, which is possible to refer them to a post-serialism approach. In order to grasp this statement, this thesis analyzes texture, form and their relation in Beat Ferrer’s music. By analyzing the two pieces and discussing the mutual methods and procedure between them, this thesis aims to discover his attitudes as a composer for the indicated pieces, which at the end leads to the recognizability of the composer by the listener.

Influence of Jazz Music on Stravinsky’s Ebony Concerto

To talk about the influence of Jazz on 20th century’s classical repertoire, according to a lecture with the title of “Jazz influences in Twentieth-Century Symphonic Band Literature” by Dr. Alan Wagner, director of Southern Methodist University, in 2003, there is a large list of pieces which are influenced by jazz and they are also strongly valuable for wind ensemble. It is remarkable to mention some of the well-known “jazz-influenced” pieces in the 20th century such as La creation du monde by Milhaud in 1923; Rhapsody in Blue by Gershwin in 1924 (in its original band orchestration); Ebony Concerto by Stravinsky in 1945 and Prelude, Fugue and Rif s by Bernstein in 1949. (Catherine Parsonage, 2003)…