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View of Literature, and Methodology Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2019 Elaborations of Classical-Model Sentences and Periods in Richard Strauss's Songs for VJosohuiac Tean isand Piano Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC ELABORATIONS OF CLASSICAL-MODEL SENTENCES AND PERIODS IN RICHARD STRAUSS’S SONGS FOR VOICE AND PIANO By JOSHUA TANIS A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2019 Joshua Tanis defended this dissertation on April 9, 2019. The members of the supervisory committee were: Joseph Kraus Professor Co-Directing Dissertation Michael Buchler Professor Co-Directing Dissertation Douglas Fisher University Representative Evan A. Jones Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii ACKNOWLEDGMENTS A comprehensive list of those who have influenced my time and studies in music until now might well extend beyond the length of this dissertation. I would like to begin by thanking everyone who has—in any way—participated in my music education, as well as those with whom I have had the great pleasure of making music and engaging in musical discussions. There are a number of people who have facilitated the development of my dissertation from mere ideas to its present form, and each of them needs special mention. First, I would like thank my dissertation co-advisors, Joe Kraus and Michael Buchler. I feel truly fortunate to have had their support over the course of this project, especially as they helped me navigate extending and expanding theories of William Caplin and Heinrich Schenker to my analyses of Richard Strauss’s songs. I would also like to thank them for their tireless mentorship, remarkably musical minds, extraordinary ability to reimagine existing theories, and, of course, their endless encouragement. I simply cannot think of a more beautifully complementary pair of mentors. Second, I would like to thank Evan Jones for his generous service on my committee and particularly for his time and guidance in the early stages of this project (when I was envisioning a dissertation on Strauss’s uses of six-four chords). He spent many hours working with me during the summer months and pointing me toward relevant (and sometimes controversial) literature on Strauss’s and other Romantic-era composers’ music. Our discussions led to the foundational aspects of my approach to analysis in this dissertation. Third, I would like to thank Douglas Fisher for his willingness to serve on my committee, specifically as an invaluable resource for digging more deeply into the structure and meaning of the poems that Strauss sets to music. He has also opened my eyes to new ways of imagining the relationship between, and the characterization of, voice and piano in these songs. iii Fourth, I would like to thank Mark Richards, who served on my committee in the early stages of this project. Without his astonishing knowledge of William Caplin’s theory, in addition to his passion for teaching it, this project would not have taken a turn toward Formenlehre studies and the elaborations thereof. In fact, it was in his Doctoral Seminar on Form that I became particularly fascinated with the issues of musical construction and organization. Fifth, I would like to thank Nancy Rogers for her unparalleled mentorship and guidance during my four years at Florida State University. Though not a “formal” member of my dissertation committee, she has spent many hours discussing Strauss’s music with me, including many delightful conversations about stretching our ears’ limits regarding what we might or might not call a musical sentence. Furthermore, she has expertly coached my teaching, writing, and preparations for life in music theory. Sixth, and finally, I would like to thank my past and present colleagues (all of whom are first and foremost my friends) here at Florida State University. I will always cherish the many conversations we had about coffee, cats, half cadences(!), musical form, Schenkerian analysis, and pedagogy, among many other topics. In addition, I must also recognize their remarkable collegiality and support in all cases. It is my sincere hope that we will all continue to work together in the future. iv TABLE OF CONTENTS List of Tables .................................................................................................................................................... vii List of Figures .................................................................................................................................................. viii Abstract ............................................................................................................................................................... x 1. INTRODUCTION, REVIEW OF LITERATURE, AND METHODOLOGY ............................ 1 1. Introduction and Contextualization .................................................................................................. 1 1.1. Introduction ................................................................................................................................ 1 1.2. Scope and Purpose ..................................................................................................................... 2 2. Review of Literature............................................................................................................................. 4 2.1. Literature on Form .................................................................................................................... 4 2.1.1. William E. Caplin.......................................................................................................... 4 2.1.2. Stephen Rodgers ........................................................................................................... 6 2.1.3. Matthew BaileyShea ..................................................................................................... 8 2.1.4. Other Scholars on Form ........................................................................................... 10 2.2. Bridging the Gap: Janet Schmalfeldt on Formal and Schenkerian Perspectives ............ 11 2.3. Literature on Schenkerian Theory, Analysis, and Perspectives ......................................... 12 2.3.1. Principles of Chromaticism in Der freie Satz: Matthew Brown, Douglass Dempster, and Dave Headlam ................................................................................. 12 2.3.2. Challenges to Traditional Schenkerian Approaches: Gregory Proctor, Patrick McCreless, and William Mitchell .............................................................................. 15 2.3.3. Responses to Proctor, McCreless, and Mitchell—Maintaining a Diatonic System: Richard Kaplan and Robert Morgan ......................................................... 17 2.3.4. Approaches to Phrase Expansion: Sarah Sarver and William Rothstein ........... 19 2.3.5. My Adoption of a Diatonic Background Structure in Strauss’s Songs .............. 20 3. Methodology ....................................................................................................................................... 21 3.1. Selection of the Corpus ........................................................................................................... 21 3.2. Overview: Organization of the Corpus by Theme-Type: Sentences and Periods .......... 25 3.2.1. Sentences and Their Elaborations ........................................................................... 26 3.2.1.1. Sentences without Phrase Expansion: 8- and 16-Measure Models .... 28 3.2.1.1.1. The Classical-Model 8-Measure Sentence ................................... 28 3.2.1.1.2. The Classical-Model 16-Measure Sentence ................................. 29 3.2.1.1.3. The Straussian Hybrid 8- or 16-Measure Sentence .................... 30 3.2.1.2. Sentences with Phrase Expansion: Expanded Versions of Model and Hybrid Sentences ....................................................................................... 33 3.2.2. Periods and Their Elaborations ................................................................................ 36 3.2.2.1. The Straussian Hybrid Period .................................................................. 36 3.2.2.2. The Lone Antecedent Phrase .................................................................. 38 2. SENTENCES AND THEIR ELABORATIONS ............................................................................... 40 1. “Befreit,” Op. 39, No. 4 (1898) ........................................................................................................ 40 2. “Mohnblumen,” Op. 22, No. 2 (1886–1888) ................................................................................. 46 3. “Leises Lied,” Op. 39, No. 1 (1898) ................................................................................................ 51 v 4. “Ich trage meine Minne,” Op. 32, No. 1 (1896–1897) ................................................................. 57 5. “Winternacht,” Op. 15, No. 2 (1884–1886) ................................................................................... 64 6. “Wiegenliedchen,” Op. 49, No. 3 (1900–1901) ............................................................................
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