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UC Santa Barbara Electronic Theses and Dissertations UC Santa Barbara UC Santa Barbara Electronic Theses and Dissertations Title Franz Liszt's Song Revisions: A Schenkerian Taxonomy Permalink https://escholarship.org/uc/item/39f1m28s Author Vitalino, Michael Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Santa Barbara Franz Liszt's Song Revisions: A Schenkerian Taxonomy A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Music by Michael Vitalino Committee in charge: Professor Lee Rothfarb, Chair Professor Pieter van den Toorn Professor Derek Katz June 2014 The dissertation of Michael Vitalino is approved. _______________________________________ Pieter van den Toorn _______________________________________ Derek Katz _______________________________________ Lee Rothfarb, Committee Chair June 2014 Franz Liszt's Song Revisions: A Schenkerian Taxonomy Copyright © 2014 By Michael Vitalino iii DEDICATION To my supportive and loving parents. iv ACKNOWLEDGEMENTS Scholarly success is dependent not only on personal investment, but also on a supportive group of people that assist, instruct, and mentor one throughout the research process. This project is the sum of nearly 8 years work and scholarly dialogue that began during my Master’s degree at the University of Massachusetts, Amherst. Dr. Aleksandra Vojcic first introduced me to Liszt’s songs in searching for a Master’s thesis topic. My research would not exist without her guidance. Together, with the help of Drs. Gary Karpinski and Brent Auerbach, I formulated a working model for comparative analysis of Liszt’s song revisions that became the basis for this dissertation. Since enrolling at the University of California–Santa Barbara, a community of faculty, staff, and students have ceaselessly encouraged my research. Temmo Korisheli and Eunice Schroeder, key staff of the UCSB music library, provided countless hours of assistance while I worked to obtain rare editions and recordings of Liszt’s music in addition to offering prudent advice throughout my degree program. My fellow students were an additional resource as we navigated our respective disciplines. I owe Scott Dirkse, Sasha Metcalf, Christopher Davis, and Annie Thompson a debt of gratitude for their musical insight and friendship. Perhaps the most important to mention among my colleagues is Vincent Rone, a constant source of encouragement and inspiration. He devoted countless hours helping me formulate and edit my work. During the summer of 2009 I had the privilege of working with Dr. Poundie Burstein at the Graduate Student Workshop Program (GSWP), sponsored by the Society of Music Theory. Not only did I gain valuable analytical experience from Dr. Burstein’s v mentoring, but it also began a line of communication that directly influenced my dissertation research. Thanks to the Humanities & Social Sciences Research Grant from UCSB, I spent the summer of 2012 in New York editing my voice-leading graphs under Dr. Burstein’s guidance. My analytical graphs are all the more clear and effective thanks to his careful guidance. I would like to extend my deepest thanks to my committee members for their valuable insight and exceeding patience. Dr. Lee Rothfarb, my committee chair, has invested more time, thought, and energy into my development as a scholar than I can possibly imagine. He challenged me to further develop my skills as a music analyst and introduced me to the fields of music aesthetics and philosophy. The value of his observations and guidance regarding my analyses and German translations cannot be overstated. Similarly, I owe Dr. Pieter van den Toorn my heartfelt thanks for his constant effort to improve my analytical and writing skills. While this dissertation has an overtly Schenkerian approach, Dr. van den Toorn instilled in me an understanding of the octatonic and transformational aspects of Liszt’s compositional approach. Finally, I would like to thank Dr. Derek Katz who provided me the opportunity to further study nineteenth- century art song in order to better understand the issues of this genre’s scholarship. To conclude my acknowledgements, I would like to thank Dr. Ellen Burns for the years of support she provided and the hours she invested in me as an undergraduate student. Special thanks are due to my closest friends, Kasey Merschoff and Kristin Burke, for their patience and encouragement. vi VITA OF MICHAEL VITALINO June 2014 EDUCATION Doctor of Philosophy, Music Theory, University of California–Santa Barbara, June 2014 Master of Music, Choral Conducting, University of California, Santa Barbara, June 2013 Master of Music, Music Theory, University of Massachusetts, Amherst, September 2008 Bachelor of Arts, Psychology and Music, University at Albany, May 2006 (cum laude) PROFESSIONAL EMPLOYMENT 2014: Visiting Lecturer, Scripps College, Claremont, CA 2010–2013: Teaching Associate, University of California, Santa Barbara 2008–2010: Teaching Assistant, University of California, Santa Barbara 2006–2008: Teaching Assistant, University of Massachusetts, Amherst 2003–2006: Undergraduate Teaching Assistant, Music Department, University at Albany 2003–2006: Assistant Conductor, University at Albany AWARDS Graduate Division Dissertation Fellowship, UC Santa Barbara, 2013 Humanities & Social Sciences Research Grant, UC Santa Barbara, 2012 Graduate Dean’s Advancement Fellowship, UC Santa Barbara, 2012 Roger Chapman Memorial Prize in Music Theory, UC Santa Barbara, 2010 Douglas Malcom Hastings Award, University at Albany, SUNY, 2006 Nathan Gottschalk Music Scholarship, University at Albany, SUNY, 2005 Andrea Hanan Music Scholarship, University at Albany, SUNY, 2004 vii PRESENTATIONS “The Ursatz and Liszt’s Revisions” Music Theory Society of the Mid-Atlantic Conference, March 2013 “The Revisional Process and Its Effect on the Ursatz” West Coast Conference of Music Theory and Analysis, March 2011 “Listomania! A Merging of Theory, Musicology, and Performance in honor of Franz Liszt’s 200th Birthday” Lecture at the University of California, Santa Barbara, October 2011 “Issues of Musical Ambiguity in Schenkerian Analysis” Music Theory Forum, University of California, Santa Barbara, November 2009 OTHER ACTIVITIES Conductor, Women’s Choir, University of California, Santa Barbara, 2012–2013 Treasurer, Center for the Interdisciplinary Study of Music (CISM), 2009 FIELDS OF STUDY Major Field: Schenkerian Analysis Studies in Tonal Theory with Professors Lee Rothfarb, Gary Karpinski and Poundie Burstein Studies in Post-Tonal Theory with Professors Pieter van den Toorn and Patricia Hall Studies in Rhythm and Meter with Brent Auerbach viii ABSTRACT Franz Liszt's Song Revisions: A Schenkerian Taxonomy by Michael Vitalino Franz Liszt was one of the most dynamic and influential musicians of the nineteenth century. His influence on piano performance, pedagogy, and composition altered the musical world for future generations, yet this is not the sum of his accomplishments. Certain aspects of his compositional output still require a great deal of attention from both scholars and performers. The aim of this study is to examine one such neglected topic, Liszt’s songs. The central issue I explore is Liszt’s composition and publication of multiple versions of a song with the same text. The goal of this study is a comparative analysis in which I highlight commonalities and divergences between versions in order to illuminate their relationships. Common compositional frameworks allow us to trace a line of composition from a song’s genesis to final form. Dissimilar frameworks help us examine Liszt’s exploration of new musical ideas and creative impulses for a text he previously used. I then classify these revisions in three-part taxonomy to account for compositional variants. By performing such a comparative analysis, we gain a more intimate ix understanding both of Liszt’s compositional style and the underlying dialogue that exists between these works. This study relies on the Schenkerian analytical model to systematically examine Liszt’s songs, an uncommon and innovative approach for a variety of reasons. Schenker did not discuss or analyze Liszt’s music; he likely dismissed it along with other “progressive” composers who undermined traditional compositional principles. However, I use the Ursatz as an idealized structure and recognize its enduring presence though Liszt’s revisions to establish a method of comparative analysis. By using an analytical method focused on a sub-surface compositional structure, we gain insight into Liszt’s revisional process and more accurately determine if there is a line of continuity between two works. x TABLE OF CONTENTS Dedication . iv Acknowledgments . v Vita . vii Abstract . ix Chapter 1: Revision and Liszt’s Oeuvre . 1 Liszt as Reviser . 5 Characteristics of Liszt’s Songs . 10 The Song Revisions . 18 Chapter 2: Trends in Literature Concerning Revisions . 23 Chapter 3: Methodology . 54 Chapter 4: Directly Related Revisions . 72 Chapter 5: Moderately Related Versions . 89 Chapter 6: Unrelated Settings . 114 Chapter 7: Conclusion . 136 Bibliography . 143 xi Chapter 1 Revision and Liszt’s Oeuvre Revision is a common part of the compositional process; even the most talented composers undergo periods of reflection and often choose to modify the notes they put to paper. By examining documents ranging from sketches to fair copies, it is possible to detail the meticulous process by which composers revise
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