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Enharmonic Paradoxes in Classical, Neoclassical, and Popular Music By Enharmonic Paradoxes in Classical, Neoclassical, and Popular Music by Haley Britt Beverburg Reale A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music: Theory) in The University of Michigan 2011 Doctoral Committee: Associate Professor Ramon Satyendra, Chair Professor Walter T. Everett Professor Kevin E. Korsyn Professor Herbert Graves Winful Associate Professor Wayne C. Petty © Haley Britt Beverburg Reale 2011 Dedication36B To my husband ii Acknowledgements37B I could not have completed this dissertation without the support of numerous people. I would especially like to thank my adviser, Ramon Satyendra, for his encouragement and boundless optimism through the whole process. He never failed to receive my ideas with enthusiasm and give me the confidence to pursue them, and his wide-ranging knowledge and helpful suggestions sparked many bursts of creativity over the past several years. I would also like to thank the other members of my dissertation committee— Kevin Korsyn, Wayne Petty, Walter Everett, and Herbert Winful—for their advice and support. Their expertise in diverse subjects was invaluable to me, and they were always willing and able to answer my many questions. I also had the privilege of working with and being inspired by many other faculty members at the University of Michigan. Special thanks to Karen Fournier for being a sounding board for many of my research ideas and for being a great listener. Additionally, I would like to acknowledge the Rackham School of Graduate Studies, especially Dean Steven M. Whiting, for financial support throughout my time at the University of Michigan. The teaching assistantships, fellowships, and travel grants for presenting at conferences gave me the means to pursue my research. iii I was fortunate enough to be surrounded by peers who not only motivated me to become a better scholar but also offered me friendship. Their encouragement and kindness will not be forgotten. I would especially like to thank Nate Adam, Abby Anderton, Alison DeSimone, Jody Doktor, Phil Duker, David Heetderks, Blair Johnston, John Levey, Ching-Mei Lin, Joelle Meniktos-Nolting, Bryan Parkhurst, Daniel Stevens, Tim Sullivan, and Evan Ware. I would also like to acknowledge the faculty and students at Youngstown State University, who saw me through the final months of the writing process. Special thanks to Jena Root for her support of my teaching, her words of encouragement, and her confidence in me. I must also thank Randy Erwin and Geneva Powers at Springdale High School and James Greeson and Carolyn Hickson at the University of Arkansas for giving me the tools and the desire to become a better musician. Their guidance and personal support set me on the path I am on today. My journey into the field can be traced back to my childhood, when the love of music was instilled in me by my parents, Clark and Cindy Beverburg. They have never let me forget their faith in me and have given me the self-confidence to reach my goals. I also want to thank my grandmother, Mary Lee Leek, for her constant love, support, and encouragement over the years. Particular thanks should be given to three individuals. Rebecca Fülöp, with whom I shared countless hours of conversation during my time in Ann Arbor, has been a true friend through both good times and bad. John Knoedler has been a terrific listener, fantastic study partner, and, most importantly, a dear friend from the moment I decided to iv sit next to him in our very first class together on our first day of graduate school. I cannot thank him enough for his kindness, patience, and words of wisdom and encouragement over the years. Lynn Endicott’s genuine intellectual curiosity and passion for learning about a multitude of subjects inspired me to become a better person from our first days of college. Without his companionship and unfailing friendship over the past more-than- decade, I would not be who I am today. Finally, words cannot express the depth of my gratitude to my husband and best friend, Steven Reale. He has graciously served many roles over the past few years for my sake: He has been my companion, has advised me and inspired me as a mentor, has motivated me to keep working hard, has consoled and encouraged me when I felt like giving up, and has been the number one fan and supporter of my research and ideas. His love, admiration, and unrelenting acts and words of kindness gave me the strength to keep going. These few paragraphs are certainly not enough space to give ample credit to all those who have helped me over the years. I sincerely thank everyone who made this project possible. v Table38B of Contents Dedication0H .......................................................................................................................... ii168H Acknowledgements1H ..........................................................................................................iii169H List2H of Examples.............................................................................................................viii170H Abstract.......................................................................................................................3H .... xiv17H Chapter4H 1 : The Problem of Enharmonic Paradoxes ................................................... 172H 1.5H Enharmonicism ..............................................................................................................2173H 2.6H The Consequences of Enharmonicism for Tonality.......................................................714H 3.7H Critique of Previous Methods ......................................................................................13175H 4.8H Conclusion ...................................................................................................................32176H Chapter9H 2 : A New Methodology .................................................................................. 3417H 1.10H Narrative and Unity .....................................................................................................35178H 2.1H The Role of Mixture ....................................................................................................37179H 3.12H Multiple Tonics............................................................................................................44180H 4.13H Methodology................................................................................................................4918H a.14H Locating the Enharmonic Paradox...............................................................................50182H b.15H Fitting the Enharmonic Paradox into the Narrative of the Work .................................53183H c.16H Large-scale Analysis....................................................................................................70184H 5.17H Conclusion ...................................................................................................................75185H Chapter18H 3 : Fiona Apple’s “Extraordinary Machine” ............................................... 80186H 1.19H Overview......................................................................................................................85187H 2.20H Verses...........................................................................................................................8818H 3.21H Choruses and Refrains .................................................................................................94189H 4.2H Bridge...........................................................................................................................96190H 5.23H Conclusion .................................................................................................................10419H Chapter24H 4 : Poulenc’s Piano Concerto, Second Movement...................................... 112192H 1.25H Overview....................................................................................................................119193H 2.26H The A section.............................................................................................................123194H 3.27H The B section .............................................................................................................128195H 4.28H The A’ section............................................................................................................142196H 5.29H Conclusion .................................................................................................................143197H Chapter30H 5 : C.P.E. Bach’s Fantasy in C Major, Wq 59/6 ........................................ 149198H 1.31H Overview and Form: ..................................................................................................15719H 2.32H The A section.............................................................................................................16120H 3.3H The B section .............................................................................................................177201H 4.34H The A’ section............................................................................................................19220H 5.35H Conclusion .................................................................................................................208203H vi Chapter36H 6 : Conclusion................................................................................................ 215204H 1.37H Similarities.................................................................................................................216205H
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