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The Interval Dissonance Rate in Chopin's Études Op. 10, Nos

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The Interval Dissonance Rate in Chopin's Études Op. 10, Nos Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 5-22-2018 The nI terval Dissonance Rate in Chopin’s Études Op. 10, Nos. 1-4: Dissecting Arpeggiation, Chromaticism, and Linear Progressions Nikita Mamedov Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Theory Commons Recommended Citation Mamedov, Nikita, "The nI terval Dissonance Rate in Chopin’s Études Op. 10, Nos. 1-4: Dissecting Arpeggiation, Chromaticism, and Linear Progressions" (2018). LSU Doctoral Dissertations. 4588. https://digitalcommons.lsu.edu/gradschool_dissertations/4588 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE INTERVAL DISSONANCE RATE IN CHOPIN’S ÉTUDES OP. 10, NOS. 1-4: DISSECTING ARPEGGIATION, CHROMATICISM, AND LINEAR PROGRESSIONS A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in School of Music by Nikita Mamedov B.M., Rider University, 2013 M.M., Rider University, 2014 August 2018 PREFACE This dissertation has been submitted to fulfill the graduation requirements for the degree of Doctor of Philosophy at the Louisiana State University. This study was conducted under the supervision of Professor Robert Peck in the Music Theory Area. I began my initial research for this project in the summer of 2016. Parts of my research have been presented in multiple conferences, which include 2016 International Chopinological Conference, 2016 and 2017 Bridges Conferences, 2017 Modus-Modi-Modality International Musicological Conference, and 2018 International Conference on New Music Concepts. ii ACKNOWLEDGMENTS I would like to thank my committee chair Professor Robert Peck, whose valuable guidance, supervision, and research collaboration allowed me to focus on my dissertation. I would also like to express my gratitude to committee member Professor Daniel Shanahan for his time, mentorship, and informative advice during the process of writing this document. Furthermore, I would like to thank committee members Professor Alison McFarland and Professor William L. Douglas for their insightful commentaries and generosity of time regarding this study. Finally, I would like to thank all members of Louisiana State University faculty from the departments of music theory and musicology for lectures and seminars that allowed me to complete this research project. iii TABLE OF CONTENTS PREFACE.............................................................................................................. ii ACKNOWLEDGEMENTS ..................................................................................... iii ABSTRACT ......................................................................................................... xii CHAPTER 1. INTRODUCTION ............................................................................ 1 CHAPTER 2. PIANISM AND SCHENKERIAN APPROACH .............................. 15 2.1 Pianism and Influence ............................................................................. 15 2.2 The Schenkerian Approach, Op. 10 No. 1 ............................................... 28 2.3 The Schenkerian Approach, Op. 10 No. 2 ............................................... 34 2.4 The Schenkerian Approach, Op. 10 No. 3 ............................................... 39 2.5 The Schenkerian Approach, Op. 10 No. 4 ............................................... 45 CHAPTER 3. DISSONANCE MEASUREMENT FOR ANALYSIS ...................... 48 3.1 Approaches to Dealing with Dissonance ................................................. 48 3.2 Evaluation of Existing Literature .............................................................. 51 3.3 Calculating Harmonic Dissonance .......................................................... 62 3.4 Chopin’s Connection ............................................................................... 69 CHAPTER 4. THE INTERVAL DISSONANCE RATE TECHNIQUE ................... 75 4.1 About Interval Dissonance Rate .............................................................. 75 4.2 The modified icv ...................................................................................... 80 4.3 The IDR of Trichords, Tetrachords, and Pentachords ............................. 84 4.4 Meter and Rhythm ................................................................................... 94 4.5 The IDR of Opening Phrases in Op. 10 Nos. 1-4 .................................... 98 4.6 Computing Components of IDR ............................................................ 101 CHAPTER 5. QUANTIFYING CHOPIN’S ÉTUDES NOS. 1-4.......................... 104 5.1 Overview ............................................................................................... 104 5.2 Étude No. 1 ........................................................................................... 117 5.3 Étude No. 2 ........................................................................................... 124 5.4 Étude No. 3 ........................................................................................... 129 5.5 Étude No. 4 ........................................................................................... 134 CHAPTER 6. CONCLUSION............................................................................ 137 BIBLIOGRAPHY ............................................................................................... 148 APPENDIX ....................................................................................................... 156 1 THE SCHENKERIAN BACKGROUND GRAPH: OP. 10 NO. 1 ............... 156 2 THE SCHENKERIAN FOREGROUND GRAPH: OP. 10 NO. 1 ............... 157 3 THE SCHENKERIAN BACKGROUND GRAPH: OP. 10 NO. 2 ............... 160 4 THE SCHENKERIAN FOREGROUND GRAPH: OP. 10 NO. 2 ............... 161 iv 5 THE SCHENKERIAN BACKGROUND GRAPH: OP. 10 NO. 3 ............... 164 6 THE SCHENKERIAN FOREGROUND GRAPH: OP. 10 NO. 3. .............. 165 7 THE SCHENKERIAN BACKGROUND GRAPH: OP. 10 NO. 4 ............... 168 8 THE SCHENKERIAN FOREGROUND GRAPH: OP. 10 NO. 4. .............. 169 9 THE SCRIPT TO COMPUTE IDR ............................................................ 174 VITA ................................................................................................................. 175 v LIST OF TABLES 3.1. Index of tonal consonance, based on the experimental data from studies by Malmberg ................................................................ 63 3.2. Index of tonal dissonance, based on the experimental data from studies by Hutchinson and Knopoff ......................................... 64 3.3. Index of tonal dissonance, based on the experimental data from studies by Kameoka and Kuriyagawa ...................................... 65 3.4. Normalized data set of combined interval-class index ............................. 66 3.5. LoPresto’s order of merit table ................................................................. 67 4.1. Other common trichords with their respective IDR .................................. 87 4.2. Most common seventh chords with their respective IDR ......................... 90 4.3. The IDR analysis of ninth chords ............................................................. 93 4.4. Types and examples of standard meter................................................... 94 5.1. The IDR analysis of Op. 10 Nos. 1-4 ..................................................... 105 5.2. The intervallic breakdown of Chopin’s Étude Op. 10 No. 1, m. 51 ........................................................................................... 108 5.3. The intervallic breakdown of Chopin’s Étude Op. 10 No. 4, m. 25 ........................................................................................... 109 5.4. The intervallic breakdown of Chopin’s Étude Op. 10 No. 4, m. 54, beat 4 ............................................................................... 114 5.5. The IDR analysis of Chopin’s Étude Op. 10 No. 2, mm. 1-2 .................. 127 vi LIST OF FIGURES 1.1. Chopin’s Étude Op. 10 No. 1, mm. 59-64 .................................................. 6 1.2. Chopin’s Étude Op. 10 No. 2, mm. 1-4 ...................................................... 7 1.3. Chopin’s Étude Op. 10 No. 3, mm. 36-44 .................................................. 9 1.4. Chopin’s Étude Op. 10 No. 4, mm. 13-21 ................................................ 10 2.1. Clementi’s Étude No. 2, mm. 1-4 ............................................................. 17 2.2. Chopin’s Étude Op. 10 No. 1, mm. 28-30 ................................................ 18 2.3. Cramer’s Étude No. 1, mm. 1-2 ............................................................... 19 2.4. Chopin’s Étude Op. 10 No. 4, mm. 1-2 .................................................... 19 2.5. Chopin’s Étude Op. 10 No. 4, mm. 5-6 .................................................... 20 2.6. Czerny’s Étude Op. 740 No. 12, mm. 7-8 ................................................ 21 2.7. Chopin’s Étude Op. 10 No. 12, mm. 25-27 .............................................. 21 2.8. Szymanowska’s Étude No. 1, mm.
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