University of MontanaScholarWorks at University of Montana

Theses, Dissertations, Professional Papers Graduate School

1967

Aion (Reseerches Into the Phenomenology of theSelf )Daniel Keith ConnerThe University of Montana

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Recommended CitationConner, Daniel Keith, "Aion (Reseerches Into the Phenomenology of the Self)" (1967). Theses, Dissertations, Professional Papers. Paper9347.

:TOK

(HHE/..HKEG IN'10 THE FHEKOHSNOLOGI OF THE SELF)

Music >•-.! Composition

H

D aniel KeitE Conner

B . C . U n iv ers ity o f Chicago, 1$H

lT«Fent«d in p a r t i a l f u l f i l l - i e n t of the reaim noierit fo r the degree ox

E aste r of Susie

EK ivEesrsr of in inE in

1967

Apjbi*cved by:..............■-.—'x

(/■■■ i ■... o - i*- ^ ^Chniririan, Board of r in* ~

• ' n- .. U-l> e H 7 ^ ^ a a r.- t-e S chool-

D l

UMI Number: EP72659

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UMI EP72659

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R h S E A f t l H E i ) i N i u j H r M H E N O N E N U L O b V OF WE 5ELF

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D E D IC A T E D TO THE MEMORY OF

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A co. * c s i t i o n subm itted in p * ,rt_ a l requ irem ent fo r th e M aster o f Music deg ree , U n iversity of Montana, Septem ber, 19o?

The t i t l e o f th is work i s taken from a p sy ch o lo g ica l t r e a t is e on the n a tu re of mysticism by C.G. Jung. Aion was th e name of a M ithraic god whose c u l t flourished about 200-300 A.D. The three movements o f th e p iece are s u b t it le d “SAMSAsiA," "VEDIC CHANT," and "SATOlX" r e sp e c tiv e ly . Samsara i s a Sanskrit word that denotes th e "wheel of l i f e , i! th e v ic io u s c i r c l e of woruly ex is ten ce in Hindu and Buddhist philosophy. A Vedic chant i s a chant on a te x t se lec ted from the Vedas, the most ancient holy s c r ip tu r e s of India* S a tori i s a Japanese word th a t refers to th e "sudden en ligh tenm en t" o f fen BuddliisT'~pT3ZTosophy .

It i s the b e l i e f o f the composer th a t the en lig h te n ed m usician of today should draw upon music of a l l cu ltu res f o r id eas and in sp ira tion * Hence, severa l m elodies that the composer heard on a re c e n t tr ip to In d ia are in c o rp o ra te d in to th e werk. The most prominent o f th ese i s th e k&rnna (compassion) theme th at dominates th e second movement: Another theme borrowed from In d ian

the second movement :sources i s heard in the scn e rre ­ sec tio n ox

This theme i s th e b a s is of a well-known evening ruga . the p e rcep tiv e l i s t e n e r w i l l also n o tic e q u o ta tio n s from Bartok, H indem ith, and Gin as t e r a , as w e ll as a p a ra ­phrase of p a r t o f a Bruckner symphony.

“Hie t h r ee-movement form of th e work ( fa s t - s lo w -fa s t ) corresponds most c lo se ly w ith th a t o f the sonata, although th e t r a d i t i o r *1 -o.i&ta form i s no t s t r i c t l y ob­served in a iy movement. The wcrk^c xens w ith - -.ow, ponderous in tro d u c tio n based on the fo llo w in g m o t i f : , This as immediately follow ed by the sam-

~ theraat r e a te d c an o n ic a lly a t t i l tone in te r v a l s . The

samsor a theme i s developed u n t i l new m a te r ia l i s in tro d u ce d in 6/d tim e in th ep a sto ra le -lik e s e c t io n , l i e f i n a l e o f cue f i r s t movement, which u t i l i s e s bo th th e in tro d u c to ry m otif and the samssr them e, fo llow s th e p a s to r 'He.

The second ;novemant opens w ith th e karun i s developed w ith th e add of

theme played by the organ alone and s o lo horn- ana th e s ita r * A b r ie f sch erso -iik e sec­

tio n fe llow s in which th e theme a l te r n a te s between th e s i t a r , the orgaii and th e b ra s s . At th e c lo se o f the movement th e karun a theme i s heard once again p layed by muted b ra s s .

The th ird movement i s in s s to r i theme

„ :ed bj a s o lo organ tax on. e 5 ag a in s t w ^:rm iiady;' in troduced in e ^

tupThe s a to r i theme i s then s ta te d in. f u l l in m arch -liko ,* t - - / c'h erg

At the c lo se ox he ont c*.a.SS,

a f te r which i t i s developed fu g a lly .theme the k arun a theme of the second movement i s he era once again , g-layer ng 2 2 s l the orqnn xTyire t h a t opened th e movement. This I s fo llow er. by tne f in a le Ln Wiiicu the p r in c ip a l themes o f a l l th r e e movements a re heard .

To th e e r r accustomed only to W estern m usic, a t w il l hear an Lndimn in s tru m en t combined w ith the i aand brass* n e v e r th e le s s , 'Western audiences *» ^s u b tle t ie s o f Ind ian music and In d ia n m u s i c - u. - reason wlp/ w idely d iv e rse music a l t r a d i t io n s v ~ o from each o th e r .

no -luubt seem rejc ic rn medium ^ a

ip Icon in tro d u e i s , and th e re i s no v

p r o f i t by borrowing heav ily

lik e most m usical instrum entsc u lt to play w ell* Since Indian music i s la r g e ly im p ro v isa to iy , the s i t a r p layer i s in v ited to i a r o v i s e fr e e ly on the m elodic b a s is provided in the second move­ment, For th e inexpert perform er, however, Hie p art as w r itte n can be mastered with a minimum o f d i f f i c u l t y , A few comments on n o ta tio n fo r th e s i t a r : whenevera s lu r i s seen in the s i t a r p a rt, th is in d ic a te s th a t th e portamento a f f e c t pecu­l ia r to the instrum ent should be employed* The melody on a s i t a r i s always accom­panied by a drone on s tr in g s tuned in open f i f t h s . This e f f e c t i s not notated inthe score but should be fr e e ly used. I f a s i t or or s i t a r p lgyer i s un availab le forperformance, any melodic percu ssion instrum ent such as a xylophone may be used.

The organ ist w i l l n o tice th a t o c c a s io n a lly notes are colied fo r th a t are below the range o f the organ keyboard. This w i l l be found on ly where f u l l organ i s demanded however, and the o rg a n ist w i l l o r d in a r ily p la y f u l l organ passages w ith both hands an octave higher than n o ta ted , u n less th e organ b ein g used i s s u f f i ­c ie n t ly b righ t even with the 1 6 * cou p lers.

Horns in the bass c le f sound *L X i-X wh lower than w r itte n ,

Hie organ ist w i l l p r e -se t the fo H o wing p is to n s:

Gt. c h ' , 2 *, m ixtures Sw. o *, u», 2*, coupled to Gt.Oh. 8*, 1 1/3* or s im ila r nu tation sto p , coupled to Gt Fed. 16*, 8», ii*, Gt. to Fed,

F u ll organ, a l l manuals

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