| This thesis applies a new combination of elements from contour, embodiment, transformational, semiotic, and narrative theories in an analysis of selected scenes from John Adams' El Nino, including the movement "For With God No Thing Shall Be Impossible," sections of "The Christmas Star," and "I Sing of a Maiden." The analysis uncovers how musical contours and harmonic transformations project layers of narrative in Adams' stage works through their embodiments in physical action. The contour analysis reveals how the composer's expressive aims are realized through correlations among stylistic tropes that can be revealed through contour mappings. The transformational analysis is applied analytically to show Adams' priority in these three movements for relative mediant relationships and to show how these are used to project narrative meaning. The implications of applying this blend of methodologies in the new context of minimal and post-minimal repertoire are far-reaching. The approach provides the analyst with a novel lens through which to interpret minimal and post-minimal repertoire of all kinds with the aim of apprehending musical meaning. |
