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dc.contributor.authorBobbitt, Richarden_US
dc.date.accessioned2018-05-30T19:39:55Z
dc.date.available2018-05-30T19:39:55Z
dc.date.issued1963
dc.date.submitted1963
dc.identifier.otherb14687756
dc.identifier.urihttps://hdl.handle.net/2144/29051
dc.descriptionThesis (Ph.D.)--Boston Universityen_US
dc.description.abstractThis study presents a descriptive outline of the principal harmonic devices employed by Darius Millhard, Arthur Honegger, Francis Poulenc, Georges Auric, Germaine, Tailleferre, and Louis Durey. The emphasis is upon the particular techniques peculiar to each composer. In addition, all the characteristic mechanisms pertaining to the composer's harmonic idiom, per se, are isolated - i.e. technical analyses include those pertinent factors surrounding the usage of harmony as well as elements intrinsically peculiar to harmonic structure alone. The attempt is then made to relate the devices of the harmonic idiom to the significant movements in music at the time Les Six were producing most prolifically as a group. The role played by polyharmony, for example, in the trend towards privitism and divionism; or the relation of polymodalit to the general movement towards superposition, which was characteristic of the arts in the first quarter of the twentieth century. [TRUNCATED]en_US
dc.language.isoen_US
dc.publisherBoston Universityen_US
dc.rightsBased on investigation of the BU Libraries' staff, this work is free of known copyright restrictions.en_US
dc.subjectGroupe des sixen_US
dc.subjectComposersen_US
dc.subjectHarmonic idiomsen_US
dc.titleThe harmonic idiom in the works of 'les six'en_US
dc.typeThesis/Dissertationen_US
etd.degree.nameDoctor of Philosophyen_US
etd.degree.leveldoctoralen_US
etd.degree.disciplineMusicen_US
etd.degree.grantorBoston Universityen_US


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