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Embedded and Parenthetical Chromaticism: a Study of Their Structural and Dramatic Implications in Selected Works by Richard Strauss Sarah K

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Embedded and Parenthetical Chromaticism: a Study of Their Structural and Dramatic Implications in Selected Works by Richard Strauss Sarah K Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2010 Embedded and Parenthetical Chromaticism: A Study of Their Structural and Dramatic Implications in Selected Works by Richard Strauss Sarah K. Sarver Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC EMBEDDED AND PARENTHETICAL CHROMATICISM: A STUDY OF THEIR STRUCTURAL AND DRAMATIC IMPLICATIONS IN SELECTED WORKS BY RICHARD STRAUSS By SARAH K. SARVER A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2010 Copyright © 2010 Sarah K. Sarver All Rights Reserved The members of the committee approve the dissertation of Sarah K. Sarver defended on July 1, 2010. ______________________________ Michael Buchler Professor Co-Directing Dissertation ______________________________ Joseph Kraus Professor Co-Directing Dissertation ______________________________ Douglass Seaton University Representative ______________________________ Evan Jones Committee Member ______________________________ Matthew Shaftel Committee Member The Graduate School has verified and approved the above-named committee members. ii ACKNOWLEDGEMENTS This project would not have been possible without the unending support, guidance, and encouragement I received from my co-advisors Michael Buchler and Joe Kraus. No matter the question or task, I could count on them throughout the entire process. They have helped me become a better scholar and writer, and I will be forever grateful to them. I would also like to express my sincere gratitude to the rest of my committee—Evan Jones, Matthew Shaftel, and Douglass Seaton—for their discerning editorial comments and suggestions. It has truly been a pleasure to work with each member of my committee. Indeed, I am indebted to the music theory faculty at Florida State University for fostering a collegial environment for learning and scholarly growth. Additionally, I would like to thank German scholar Christine Lehleiter, who, while at FSU, helped me attain a greater understanding of and appreciation for German literature. I was very fortunate to have had the opportunity to study with her. The professional and personal relationships I have developed while attending Florida State University are ones that will last a lifetime. I cherish the times spent with fellow students, especially those of you who entered into the program in 2005. You are all dear to me, and I hope you’ll forgive me if I don’t thank everyone individually. (You know who you are!) I do, however, want to particularly acknowledge Greg Decker. Whether sharing ideas for lesson plans, walking together to our favorite local dive, or encouraging each other to keep going, our friendship has had such a positive impact on me. My family has also been instrumental in encouraging me—not only in the completion of my studies at FSU, but in everything I do. I owe the world to my parents, Bill and Sherry King, whose constant love and support keep me going. They recognized my passion for music and made sure that I had ample opportunities to study and perform. As I reflect upon the years I have spent in Tallahassee, I realize that they have been some of the best of my life. I could not imagine a better person with whom to share these iii experiences than my beloved husband Bruce. He has made personal sacrifices in order to support me in reaching my goals. I am wholly grateful for his enduring patience, unconditional love, and absolute devotion. Our sweet relationship keeps me grounded and brings me such joy. I love him dearly, and I look forward to the next adventure that awaits us. iv TABLE OF CONTENTS LIST OF TABLES ............................................................................................................................... vii LIST OF EXAMPLES ........................................................................................................................ viii ABSTRACT ....................................................................................................................................... xii CHAPTER 1 INTRODUCTION AND LITERATURE REVIEW ................................................................ 1 1.1 Introduction to the Topic .................................................................................................... 1 1.2 Theories of Chromaticism in Tonal Music: Determining the Limits of Tonality ................. 3 1.3 Trends in the Analysis of Late- and Post-Romantic Chromatic Music .............................. 10 1.4 Background for the Concept of the Musical Interpolation ............................................... 18 1.4.1 “Parenthesis” as Phrase Expansion ......................................................................... 18 1.4.2 “Parenthesis” as Interruption of Normative Tonal Syntax ...................................... 21 1.4.3 “Parenthesis” as Tonal and Formal Device .............................................................. 22 1.4.4 “Parenthesis” as Chromatic Phenomenon .............................................................. 23 1.5 Conclusion ......................................................................................................................... 25 CHAPTER 2 EMBEDDED AND PARENTHETICAL CHROMATICISM ................................................. 27 2.1 Embedded Chromaticism .................................................................................................. 28 2.1.1 Simple Uses of Embedded Chromaticism ................................................................ 29 2.1.2 Extravagant Uses of Embedded Chromaticism ........................................................ 32 2.1.3 Rhetorically Marked Embedded Chromaticism ....................................................... 39 2.1.4 Embedded Chromaticism in Deep Structural Levels ............................................... 46 2.2 Parenthetical Chromaticism ............................................................................................. 48 2.2.1 Mixed-Boundary Parentheses ................................................................................. 49 2.2.2 Rigid-boundary chromatic passages ........................................................................ 55 2.3 Summary ........................................................................................................................... 60 CHAPTER 3 STRUCTURAL AND DRAMATIC IMPLICATIONS OF CHROMATICISM IN “SÄUSLE, LIEBE MYRTHE,” OP. 68, NO. 3 ................................................................................. 62 3.1 Summary of Issues Concerning the Analysis of Texted Works ......................................... 63 3.2 Overview of “Säusle, liebe Myrthe,” Op. 68, No. 3 .......................................................... 64 3.2.1 Synopsis of the Text ................................................................................................. 64 3.2.2 Overview of Musical Characteristics ........................................................................ 65 v 3.3 Embedded Chromaticism .................................................................................................. 70 3.3.1 Embedded Chromaticism at the Middleground Level ............................................. 70 3.3.2 Embedded Chromaticism at the Foreground Level ................................................. 73 3.4 Parenthetical Chromaticism ............................................................................................. 80 3.5 Summary ........................................................................................................................... 88 CHAPTER 4 STRUCTURAL AND DRAMATIC IMPLICATIONS OF CHROMATICISM IN “AMOR,” OP. 68, NO. 5 ............................................................................................................ 90 4.1 Overview of “Amor,” Op. 68, No. 5 .................................................................................. 91 4.1.1 Synopsis of the Text ................................................................................................. 91 4.1.2 Overview of Musical Characteristics ........................................................................ 92 4.2 Embedded Chromaticism .................................................................................................. 95 4.2.1 Embedded Chromaticism at the Middleground Level ............................................. 95 4.2.2 Embedded Chromaticism at the Foreground Level ................................................. 97 4.3 Parenthetical Chromaticism ........................................................................................... 109 4.4 Summary ......................................................................................................................... 115 CHAPTER 5 CONCLUSION ........................................................................................................... 117 Embedded and Parenthetical Chromaticism: Implications for Further Study ............... 119 BIBLIOGRAPHY ............................................................................................................................ 121 BIOGRAPHICAL SKETCH ............................................................................................................... 129 vi LIST OF TABLES 3.1. Form Chart. “Säusle, liebe Myrthe” Op. 68, No. 3. ..........................................................
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