Patterns, Containment, and Meaning in Hugo Wolf's Mörike
Total Page：16
File Type：pdf, Size：1020Kb
PATTERNS, CONTAINMENT, AND MEANING IN HUGO WOLF’S MÖRIKE- LIEDER by ELIZABETH J. LEE 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 2014 DISSERTATION APPROVAL PAGE Student: Elizabeth J. Lee Title: Patterns, Containment, and Meaning in Hugo Wolf’s Mörike-Lieder 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: Stephen Rodgers Chairperson Jack Boss Core Member Marian Smith Core Member Marilyn Linton Institutional Representative and Kimberly Andrews Espy Vice President for Research and Innovation; Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2014 ii © 2014 Elizabeth J. Lee iii DISSERTATION ABSTRACT Elizabeth J. Lee Doctor of Philosophy School of Music and Dance June 2014 Title: Patterns, Containment, and Meaning in Hugo Wolf’s Mörike-Lieder This dissertation focuses upon patterns and concepts of containment within selected Lieder from Hugo Wolf's Mörike collection. More specifically, I focus upon melody as a way of understanding how these found patterns and movements within melodic containers provide meaning. I focus on the melody for two reasons. First, my research here is the first to present such a detailed analysis of the melody. Second, the manuscripts of the Mörike-Lieder indicate that the melodic line was often an important referential point for Wolf. In my analysis, I focus upon six songs: “Der Knabe und das Immlein,” “Ein Stündlein wohl vor Tag,” “Frage und Antwort,” “Lebe wohl,” “An eine Äolsharfe,” and “Das verlassene Mägdlein.” Two central questions guide my analysis. First and most important, how can our knowledge of musical patterns reveal meaning within selected songs of the collection? Each song analyzed presents numerous melodic patterns that enhance our understanding of the poems. Second, how can these patterns lead to a better understanding of some of the ways that the individual songs of the collection relate to one another? As we will with the analysis of “Der Knabe und das Immlein,” “Ein Stündlein wohl vor Tag,” “Frage und Antwort,” and “Lebe wohl,” I propose that these four songs form two pairs. Here, the pair of “Frage und Antwort” and “Lebe wohl” create a newly identified song pair. iv The analysis follows a four-pronged approach applying Steve Larson’s theory of musical forces, Candace Brower’s theory of musical meaning, George Lakoff and Mark Johnson’s cognitive metaphor theory, and Schenkerian analysis. Looking at the Mörike- Lieder from this vantage point will allow us to see how melodies flow in such a way as to suggest motions or metaphors as they relate to the poetic ideas. Known as the "Poet's Composer," I hope to illustrate that Wolf portrayed great sensitivity when setting the poetry and created unique links between specific songs. v CURRICULUM VITAE NAME OF AUTHOR: Elizabeth J. Lee GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED: University of Oregon, Eugene Texas State University-San Marcos Kilgore College, Kilgore, Texas DEGREES AWARDED: Doctor of Philosophy, Music Theory, 2014, University of Oregon Master of Music, Music Theory, 2007, Texas State University-San Marcos Bachelor of Arts, Music, 2005, Texas State University-San Marcos AREAS OF SPECIAL INTEREST: Music Theory Music Perception and Cognition Embodied Music Ethnomusicology PROFESSIONAL EXPERIENCE: Graduate Teaching Fellow in Music Theory/Aural Skills at University of Oregon Fall 2009 – Spring 2012 Teaching Assistant in Music Theory at Texas State University-San Marcos Spring 2006 – Fall 2007 GRANTS, AWARDS, AND HONORS: Doctoral Grant, Sigma Alpha Iota Music Fraternity, September 2013 Participant: Vancouver International Song Institute’s 3rd Annual Interdisciplinary Song Scholarship and Performance Program. Vancouver, Canada, June 2012 Participant: Society for Music Analysis Summer School for Music Analysis. Durham, UK, September 2010 vi PUBLICATIONS: Lee, Elizabeth. “Music, Imagery, Meaning, and Emotion in Hugo Wolf’s ‘An eine Äolsharfe’: An Analytical Triangulation via Schenkerian Analysis, the Theory of Musical Forces, and Cognitive Metaphor Theory.” In Music Theory and its Methods: Structures, Challenges, Directions, edited by Denis Collins. Vol. 7 of Methodology of Music Research, edited by Nico Schüler. New York: Peter Lang Publishers, 2012 Lee, Elizabeth. “The Refinement of Rhythm. Volume 2: A Practical Guide with supporting CDs for Learning to Perform Further Challenging Rhythms,” South Central Music Bulletin. Volume VI, Number 2 (Spring 2008): 11-12. [refereed journal] Lee, Elizabeth. “Dimitar Ninov – A Contemporary Bulgarian-American Composer,” South Central Music Bulletin. Volume V, Number 2 (Spring 2007): 18-25. [refereed journal] Lee, Elizabeth. “The Refinement of Rhythm: A Practical Guide with Supporting CDs For Learning To Perform Increasingly Challenging Rhythms,” South Central Music Bulletin. Volume V, Number 1 (Fall 2006): 51-53. [refereed journal] Lee, Elizabeth. “An Introduction to Music Therapy,” South Central Music Bulletin. Volume IV, Number 1 (Fall 2005): 60-61. [refereed journal] vii ACKNOWLEDGMENTS Anyone who has gone through the dissertation process learns the value of his or her committee. For me, it is clear that the entire dissertation would not have been possible without the support of my committee. I cannot thank Dr. Steve Rodgers, my advisor and chair, enough for the countless emails and Skype conversations to help me organize and guide my thoughts throughout the entire dissertation process. Dr. Jack Boss, Dr. Marian Smith, and Dr. Marilyn Linton were all supportive of this project, despite the fact that I was so far away. Thank you for your feedback and encouragement. This entire project started as a term paper and has grown into the dissertation presented here. The growth of this project would not have been possible without the comments and suggestions received from numerous people on many occasions. Thank you to Drs. Steve Rodgers and Jack Boss for their feedback in the beginning stages of this project. I am also grateful for the feedback provided by Dr. Susan Youens and Dr. Deborah Stein on my “Äolsharfe” article draft during my visit to the Vancouver International Song Institute in June 2012. Finally, I would also like to thank Dr. Arnie Cox and Dr. Nico Schüler for their comments on a draft of the same article in previous years. The manuscript research and visits to the Austrian National Library in Vienna would not have been possible without the support of the Doctoral Grant provided by Sigma Alpha Iota. In undertaking such a project, a support system of friends and family is one of the very best rewards one can have. My friends and family were always understanding and encouraging throughout this endeavor. I am indebted to my Mom and Dad who were always supportive of my travels and encouraged me to never give up in pursuing my viii goals. My entire family was supportive during the entire doctoral program and of my move to Germany. My friends and colleagues, both in the US and abroad, were unimaginably helpful with their acts and words. From the numerous copies to coffee breaks to just taking the time for a chat, I am very appreciative of your time and positivity. Last, but certainly not least, I would like to thank Robert Hepach. His unwavering support and endless patience with me while working on my dissertation was one of the best gifts I could ever ask for. This project would have been impossible without his support. Thank you for keeping me sane. ix TABLE OF CONTENTS Chapter Page I. INTRODUCTION ................................................................................................... 1 Analytical Overview: Pattern and Meaning .......................................................... 6 Pattern ............................................................................................................. 6 Musical Meaning ............................................................................................ 7 The Application of Pattern and Musical Meaning ................................................ 8 Chapter Outline ..................................................................................................... 13 II. EDUARD MÖRIKE AND HUGO WOLF BIOGRAPHIES WITH A DISCUSSION ON THE MÖRIKE-LIEDER MANUSCRIPTS ............................. 15 The Life and Times of Eduard Mörike ................................................................. 16 The Life and Times of Hugo Wolf ....................................................................... 21 Hugo Wolf’s Compositional Style and Process .................................................... 30 III. DISCUSSION AND EXPANSION OF APPLIED METHODOLOGIES ........... 37 Theory of Musical Forces ..................................................................................... 38 Theory of Musical Meaning .................................................................................. 44 Schenkerian Analysis ............................................................................................ 49 Cognitive Metaphor Theory .................................................................................. 54 Discussion of Expanded Methodologies ............................................................... 58 Recent Expansions of Larson’s Theory of Musical Forces