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The University of Chicago Music Analysis As a Practice of the Self in Nineteenth-Century Germany a Dissertation Submitted to T

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The University of Chicago Music Analysis As a Practice of the Self in Nineteenth-Century Germany a Dissertation Submitted to T THE UNIVERSITY OF CHICAGO MUSIC ANALYSIS AS A PRACTICE OF THE SELF IN NINETEENTH-CENTURY GERMANY A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF MUSIC BY AUGUST ANDERSON SHEEHY CHICAGO, ILLINOIS AUGUST 2017 Copyright © 2017 by August Anderson Sheehy All Rights Reserved For Da, who showed me what it means to live curiously Table of Contents List of Figures .................................................................................................................................. v List of Tables .................................................................................................................................. vi List of Musical Examples .............................................................................................................. vii Acknowledgments ........................................................................................................................ viii Abstract ......................................................................................................................................... xii Introduction ................................................................................................................................. 1 Analysis Beyond Epistemology ........................................................................................... 4 Analysis and Ethics: Ought We Ought? ........................................................................... 16 Revisiting Foucault ........................................................................................................... 19 Structure of the Dissertation ............................................................................................. 25 Chapter One: Music Analysis as a Practice of The Self ................................................. 32 Lewin's Paradox, or Analysis in Theory ........................................................................... 37 Who Analyzes Music? Distinguishing Subject and Self .................................................... 46 “You must change your life”: Rilke’s Imperative, Spirituality, and Music Analysis ........ 58 Method .............................................................................................................................. 72 Chapter Two: The Subject of Music and the Will to Know: Toward a History of Music Analysis .......................................................................................................................... 78 “History of Analysis” ......................................................................................................... 82 The Historical Ontology of Musical Subjects ................................................................... 88 Chapter Three: Gottfried Weber and the Problem of Judgment ............................... 107 The Doubled “I” ............................................................................................................. 107 That a Person May Have More than One Side ............................................................. 113 Music against the Law: The Case of K. 465 ................................................................... 139 The Law against Music: The Case of Mozart’s Requiem .............................................. 169 Chapter Four: A. B. Marx and the Politics of Sonata-Form Theory ......................... 185 Doubled History ............................................................................................................. 185 Becoming A. B. Marx ..................................................................................................... 191 Form in the Age of Emancipation .................................................................................. 214 The Last Symphony and the Round Dance ................................................................... 227 Conclusion ...................................................................................................................... 251 Conclusion ............................................................................................................................... 253 Bibliography ................................................................................................................................ 269 iv List of Figures Figure 1.1, David Lewin's representation of pitch-class content and constituent pentachord forms in Stockhausen, Klavierstück III (Ex. 2.2 in Musical Form and Transformation) ............. 67 Figure 3.1, Closing paragraph of Weber's essay on the Dissonance Quartet (Cäcilia version, 1832). ................................................................................................................. 112 Figure 3.2, Frontispiece of the Code Civil des Français ................................................................... 116 Figure 3.3, Types of Mehrdeutigkeit in Weber’s music theory ....................................................... 152 Figure 4.1, “Judas nach Holbein” from Lavater, Physiognomische Fragmente, vol. 1 (1775), Tab. III (no page number; follows p. 78) ........................................................................ 188 Figure 4.2, The University of Berlin viewed from the south side of Unter den Linden, ca. 1830 ............................................................................................................. 206 Figure 4.3, Johann Heinrich Hintze, Berlin Lindenstrasse Kammergericht, ca. 1850 .............. 252 v List of Tables Table 1.1, Rainer Maria Rilke, Archaïscher Torso Apollos, from Neue Gedichte (1908) ....................... 59 Table 3.1, Outline of Weber’s analytic essay on Mozart’s K. 465 (version in the Versuch, 3rd ed.) ............................................................................................................... 147 Table 3.2, Weber’s fundamental harmonies with examples illustrating nomenclature .............. 149 Table 3.3, Weber’s summaries of the sections of the Requiem Mass ......................................... 178 Table 3.4, Text of the “Tuba mirum” ........................................................................................ 178 Table 4.1, Summary of Marx’s derivation of forms (after Burnham) ......................................... 220 vi List of Musical Examples Example 0.1, Final measure of J. S. Bach, "Freu' dich sehr, o meine Seele" ................................. 5 Example 3.1, Mozart, “Dissonance” Quartet, K. 421, mm. 1–8 ............................................... 141 Example 3.2, Fétis’s “correction” of K. 465, mm. 1–3 ............................................................... 142 Example 3.3, The “intention” of Mozart’s K. 465 mm. 1–4, according to Weber .................... 157 Example 3.4, Weber’s sketch of how Mozart might have composed the opening of K. 465 ..... 158 Example 3.5, Mozart Requiem, “Kyrie,” mm. 35–38 ............................................................... 177 Example 3.6, Mozart, Requiem, “Tuba Mirum,” mm. 1–4 ...................................................... 180 Example 3.7, Mozart, Requiem, “Sanctus,” mm. 1–10 (SATB only) ........................................ 182 Example 4.1, The motive from Mendelssohn’s Lobgesang. .......................................................... 237 Example 4.2, Beethoven, Symphony no. 9, Mvt. II, mm. 1–34 (strings only) ............................ 241 Example 4.3, Beethoven String Quartet in E-flat, op. 127, Mvt. I, mm. 7–22 .......................... 243 Example 4.4, Spontini, Nurmahal, "O Qual des Argwohns!" mm. 1–5, a choral Reigen .............. 244 Example 4.5, Beethoven, Choral Fantasie, Op. 80, Mvt. 3, mm. 1–7 ............................................246 vii Acknowledgments I would like first simply thank everyone who supported me in ways big and small to complete this dissertation. I would not have been able to do it without the help of more people than I can name here. So, thank you. Of course, if I have learned anything in the process in the process of writing this dissertation, it is that the details matter. My first specific thanks must go to the members of my dissertation committee. Thomas Christensen has been an unstintingly supportive advisor. His lack of pretension, clarity of thought, and enthusiasm for scholarship were always at hand providing both guidance and a model to which to aspire. Berthold Hoeckner has been brilliantly complementary as a co-advisor and mentor. The incisiveness of his questions and critiques was matched by the depth of his empathy when I had bitten off more than I could chew. I thank him as well for keeping me honest with my German translations. Steve Rings has been not only a model music theorist but also a patient and kind listener whenever I wanted to try out a new idea or needed advice. Several other faculty and staff at the University of Chicago also deserve thanks. In particular, I would like to thank Arnold Davidson, in whose seminar “Improvisation as a Way of Life” (co-taught with George E. Lewis) the initial framing of this dissertation was conceived. Arnold’s enthusiasm for the project was a wonderful reminder of the ways musical ideas can reach across disciplinary boundaries. Philip Bohlman generously offered food for thought when the chapter on A. B. Marx was in its earliest stages; a bit later he was a gracious tour guide in Berlin. Seth Brodsky came to Chicago after my work was well under way; he nevertheless offered no shortage of brilliant insights from that
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