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Nefelibata

Richmond, Jason C
http://rave.ohiolink.edu/etdc/view?acc_num=ucin1397734667

Abstract Details

2014, DMA, University of Cincinnati, College-Conservatory of Music: Composition.
Nefelibata is a Portuguese word derived from “nephele” (cloud) and batha (a place where you can walk). The definition of nefelibata is “a cloud walker. One who lives in the cloud of their own imagination or dreams, or one who does not abide by the precepts of society, literature, or art.” It is one of a kind. It doesn’t have a kindred soul. Someone called a nefelibata is an unconventional, unorthodox person. A creative person, who remains embroiled in his/her imaginations, transcending all the conventions and laws, but also an intractable person who stays involved in insignificant things, too, could be called a nefelibata. Its usage completely depends upon the activity in which the person is involved. The title of my piece in relation to this definition hinges on the fact that the two main theme areas contradict one another in terms of how the music sounds in the context of how each theme is presented within the music. The first theme is a twelve-tone row, but does not operate in the normal “conventions” of how a tone row should unfold within the rules of dodecaphony. Instead, the theme chooses to present itself through exact repetition and development, weaving in and out of dense and sparse textures, all while centering on the pitch C, something from which twelve-tone music tries to distinguish itself. The second theme area hints toward the key of D major, or the note D as the tonal center, but not using functional harmony and traditional chord progressions to establish a firm key center or area. The music takes on a different character all together with the second theme: slower tempo, simple textures and harmonies, and a melody that is both subtle and straightforward. I wanted to write the first theme as a twelve-tone row. Present the melody within a particular style that gave way to certain expectations, but give it my own character, not following the precepts and rules of twelve-tone music. With the second theme, I wanted to portray the exact opposite of what came before, something that stayed involved in insignificant things (traditional harmony as some would believe). These two themes are cloud walkers, and as a nefelibata, each completely depends upon the activity (texture) in which the theme is involved in the context of how each is presented.
Joel Hoffman, D.M.A. (Committee Chair)
Mike Fiday, Ph.D. (Committee Member)
Douglas Knehans, D.M.A. (Committee Member)
37 p.
Music
nefelibata; Orchestra; Dissertation; Richmond

Recommended Citations

Citations

  • Richmond, J. C. (2014). Nefelibata [Doctoral dissertation, University of Cincinnati]. OhioLINK Electronic Theses and Dissertations Center. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1397734667

    APA Style (7th edition)

  • Richmond, Jason. Nefelibata. 2014. University of Cincinnati, Doctoral dissertation. OhioLINK Electronic Theses and Dissertations Center, http://rave.ohiolink.edu/etdc/view?acc_num=ucin1397734667.

    MLA Style (8th edition)

  • Richmond, Jason. "Nefelibata." Doctoral dissertation, University of Cincinnati, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1397734667

    Chicago Manual of Style (17th edition)

ucin1397734667
331
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This open access ETD is published by University of Cincinnati and OhioLINK.