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Music Borrowing in Organ Literature Through History

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Music Borrowing in Organ Literature Through History MUSIC BORROWING IN ORGAN LITERATURE THROUGH HISTORY: COUPERIN, BACH, BRAHMS, IVES, ALAIN, AND CAGE by JOY ANN SCHROEDER A DISSERTATION Presented to the SChool of MusiC and Dance and the Graduate SChool of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy June 2020 DISSERTATION APPROVAL PAGE Student: Joy Ann SChroeder Title: MusiC Borrowing in Organ Literature Through History: Couperin, BaCh, Brahms, Ives, Alain, and Cage. This dissertation has been aCCepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the SChool of MusiC and Dance by: JaCk Boss Chairperson Carolyn Bergquist Core Member Stephen Rodgers Core Member Timothy Pack Core Member Boris Botvinnik Institutional Representative and Kate Mondloch Interim ViCe Provost and Dean of the Graduate SChool Original approval signatures are on file with the University of Oregon Graduate SChool. Degree awarded June 2020. ii © 2020 Joy Ann Schroeder iii DISSERTATION ABSTRACT Joy Ann SChroeder Doctor of Philosophy SChool of MusiC and Dance June 2020 Title: MusiC Borrowing in Organ Literature Through History: Couperin, BaCh, Brahms, Ives, Alain, and Cage. This dissertation is a study of borrowed melodies, harmonies, and formal structures in six representative works from the organ literature of the seventeenth to twentieth centuries. These works, by composers François Couperin, J. S. BaCh, Johannes Brahms, Charles Ives, Jehan Alain, and John Cage, exhibit different methods of varying the borrowed material by addition of elements as well as subtraCtion. It focuses on how Composers stayed within the normative praCtiCes of their eras by enhancing the tonal impliCations of their original sources, or (in the twentieth century) by obsCuring or even erasing them. J. Peter Burkholder’s work on borrowed material is the foundation of this study. His work is illustrated through my considerations of these six examples, and also used to step further into a disCussion of how eaCh composer either stays within the boundaries of tonality or pushes beyond them. In addition, I consider how composers either elaborate the texture of the original, or (in Cage’s case) remove and fragment large parts of it timbrally to make it sound more random. My assertions about tonality and texture are supported by SChenkerian and post-tonal analyses, and in plaCes I also Consider rhythmiC and metriC alterations through the use of detailed tables. iv CURRICULUM VITAE NAME OF AUTHOR: Joy Ann SChroeder GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED: University of Oregon, Eugene. University of Illinois, Urbana. Wayne State University, Detroit. The University of MiChigan, Ann Arbor. Eastern MiChigan University, Ypsilanti. The University of MiChigan, Ann Arbor. DEGREES AWARDED: Doctor of Philosophy, 2020, University of Oregon. Master of Library SCience, 2013, University of Illinois. ARCT, Royal Conservatory of MusiC, Toronto, 2010. Master of MusiC, 2008, Wayne State University. Fellow of the AmeriCan Guild of Organists, 2003. Doctor of MusiCal Arts, 1992, University of MiChigan. Master of Arts, 1984 and 1982, Eastern MiChigan University. BaChelor of MusiC Education, 1968, University of MiChigan. PROFESSIONAL EXPERIENCE: Adjunct Instructor, Monroe County Community College, 2003-2013. Keyboard Department Chair, Flint (MI) Institute of MusiC, 2000-2013. Adjunct Instructor, Wayne State University, Winter, 2008. GRANTS, AWARDS, AND HONORS: Outstanding SCholar in MusiC Theory, University of Oregon, 2020. Graduate TeaChing Fellow in MusiC Theory, University of Oregon, 2014-2019. v PUBLICATIONS: SChroeder, Joy. “Conference Report. Trailblazers: Women’s ImpaCt on Organ, Carillon, HarpsiChord and SaCred MusiC, University of MiChigan 58th Annual Organ Conference.” The Diapason (February, 2019): 22-23. SChroeder, Joy. “ Review. Bach and the Organ, edited by Matthew Dirst.” Notes 75, n. 1 (2018): 78-80. Schroeder, Joy. “Review. The Bible in Music: A Dictionary of Songs, Words, and More by Siobhan Dowling Long and John F. A. Sawyer.” Journal of Theological Librarianship 9:2 (2016). Schroeder, Joy. “Review. Widor: A Life Beyond the Toccata by John R. Near. Music Reference Quarterly 14: 3 (2011). CONFERENCE PRESENTATIONS: “Schenkerian Musical Analysis and J. S.Bach,” Three Minute Thesis, University of Oregon, 2019. “Is “Motionless” Music Motionless? (Analysis of Three French Organ Pieces),” PaCific Northwest Graduate Student Conference, Eugene, 2018. “The AmeriCan MusiCal Love Song: What Can We Learn from a Careful Look at Their Melodies and Harmonies,” PaCific Northwest Library AssoCiation, 2015. “The Power of TheoretiCal Analysis Upon PerformanCe, Illustrated in 2 Chorale Preludes of Bach and Brahms,” University of MiChigan Organ ConferenCe, 2014. vi ACKNOWLEDGMENTS I wish to express my sincere appreCiation to Mr. HeCtor Colon of C. F. Peters Corporation for permission to include my reset examples from John Cage’s Some of the Harmony of Maine. I also wish to give speCial thanks to MiChael DekoviCh and Cara Haxo for drawing many of the SChenkerian graphs in Finale. And I wish to thank my dissertation committee, Professor JaCk Boss, chairperson; Professors Carolyn Bergquist, Stephen Rodgers, and Timothy PaCk, core members; and Professor Boris Botvinnik, institutional representative; for all help and encouragement. However, I also want to thank all my professors at The University of Oregon. These include the professors who adjudiCated my seCondary area of musiCology: Lori Kruckenberg, Juan Eduardo Wolf, and Marc VansCheeuwijck; and all the other professors who have taught or mentored me in lessons and classes: Tyler Abbott, Barbara Baird, Margaret Gries, Loren Kajikawa, Winifred Kerner, Drew Nobile, Lindsey Rodgers, Jason Silveira, Marian Smith, Jeffrey Librett, Marilyn Linton, Dieter MandersCheid, Jason SChreiner, and Trina Whitaker. I am indebted to administrators GraCe Ho, ACademiC Advisor; and Leslie Straka, Associate Dean; of the SChool of MusiC and Dance; and Jered Nagel, Assistant Dean of the Graduate SChool, for adviCe. And I am indebted to Ann Shaffer and Terry MCQuilkin for teaChing me about the musiC library. But, I am also indebted to the committee who reCommended me to beCome a doctoral student at UO: James Kibbie of The University of MiChigan; Mary Ida Yost, retired from Eastern MiChigan University; Karl BraunsChweig of Wayne State University; and James Hartway, retired from Wayne State University. vii A dissertation is the summation of all the learning and experience that a student has reCeived at an institution, and also at all other plaCes in life. So I thank all the teaChers, friends, and family who have supported me on this, and every, endeavor in my life. viii Dedication For JaCk Boss, ever-patient advisor, Stephen Wasilewski, ever-supportive spouse, and my mom and dad, Dale and Velma SChroeder, deCeased, but with whom I walk every day. ix TABLE OF CONTENTS Chapter Page I. INTRODUCTION, LITERATURE REVIEW, METHODOLOGY ........................ 1 Introduction .............................................................................................................. 1 Literature Review ..................................................................................................... 10 General ................................................................................................................. 10 BaCh ..................................................................................................................... 19 Ives ....................................................................................................................... 22 Cage ..................................................................................................................... 24 Brahms ................................................................................................................. 26 Alain ..................................................................................................................... 30 Couperin ............................................................................................................... 32 Methodology ............................................................................................................ 33 II. J. S. BACH, AUS TIEFER NOT SCHREI ICH ZU DIR, BWV 686 ....................... 38 The Melody Chorales, Counterpoint, and ReaChing BaCk to the Past ..................... 50 The Melody of Aus tiefer Not schrei ich zu dir ....................................................... 52 Motives and Entries ................................................................................................. 65 Phrase 1 ................................................................................................................ 65 Phrase 2 ................................................................................................................ 66 Phrase 3 ................................................................................................................ 69 Phrase 4 ................................................................................................................ 71 Phrase 5 ................................................................................................................ 73 The SChenkerian Graph and Its Reading in A Minor .............................................. 80 Phrase 1 ................................................................................................................ 83 Phrase 2 ...............................................................................................................
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