Journal of the American Viola Society Volume 26 Online, Summer ...

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The entirre composition is an archh form, the distinctioon of which is i mostly evvident if one comparess the tempi, emotive moods, techniquees, and color rs of correspponding archh movemennts (I–III–V and II–IV). The arch- form connsistency bet tween movemments I, III, and V liees in the rhyt thmic drive iinfused in each of thhese section ns. The correspondence between II and IV lie es in coloristtic use of glissandii and harmon nics, and there is some motivic ccorresponden nce betweenn these sections. Example 1. Elwood, Capricious AApparitions, movt. I, Traaffic, mm. 7– –11. The frenzzy and nebul lousness of a dream worrld is furtherred by a shorrt, polyrhythhmic section that ends withh a chromati ic descent inn harmonics ( (ex. 2). VOLUMEE 26 SUMMMER 2010 25 Movvement I: Trraffic – The opening sceene of the mmovie is a drream sequennce in whichh the mainn character iis trapped in a traffic jamm. He seemms relaxed uuntil the car bbegins to filll with smooke and he caan’t escape. Suddenly hee is floatting out of thhe car, above the traffic, , then highh above a beaach. Conveyying a little oof the franntic nature off being trappped in the carr, I creaated a movemment with a sstrong rhythmic drivve and a motiivic idea thaat, for me, is remiiniscent of BBartók (ex.1) ). ONLINE IISSUE
Example 2. Elwood, Capricious AApparitions, movt. I, Traaffic, mm. 344–47. VOLUMEE 26 SUMMMER 2010 26 ONLINE IISSUE
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Journal of the American Viola Society Volume 26 Online, Summer ...

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