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THE STRUCTURE and SYNTAX of STRAVINSKY's NEOCLASSICAL CADENTIAL LANGUAGE by Aaron Templin Copyright The Structure and Syntax of Stravinsky's Neoclassical Cadential Language Item Type text; Electronic Dissertation Authors Templin, Aaron Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 05/10/2021 11:28:55 Link to Item http://hdl.handle.net/10150/312625 THE STRUCTURE AND SYNTAX OF STRAVINSKY’S NEOCLASSICAL CADENTIAL LANGUAGE by Aaron Templin _____________________ Copyright © Aaron Templin 2014 A Dissertation Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY In the Graduate College THE UNIVERSITY OF ARIZONA 2014 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Dissertation Committee, we certify that we have read the dissertation prepared by Aaron Michael Templin entitled The Structure and Syntax of Stravinsky’s Neoclassical Cadential Language and recommend that it be accepted as fulfilling the dissertation requirement for the Degree of Doctor of Philosophy. ________________________________________________Date:12/17/2013 Donald G. Traut ________________________________________________Date: 12/17/2013 Boyd Pomeroy ________________________________________________Date: 12/17/2013 Pamela Decker Final approval and acceptance of this dissertation is contingent upon the candidate’s submission of the final copies of the dissertation to the Graduate College. I hereby certify that I have read this dissertation prepared under my direction and recommend that it be accepted as fulfilling the dissertation requirement. ________________________________________________ Date: 12/17/2013 Dissertation Director: Donald G. Traut 3 STATEMENT BY AUTHOR This dissertation has been submitted in partial fulfillment of requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this dissertation are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: Aaron Templin 4 ACKNOWLEDGEMENTS The following individuals helped make this work possible: Donald G. Traut, my dissertation advisor, who read countless drafts to weed out various errors, inconsistencies, and numerous examples of poor writing, Mindy Templin who sacrificed much of her time so that I could finish this document, Carl and Shirley Templin whose proof-reading skills proved invaluable, and numerous others whose constant support and encouragement helped me persevere. 5 DEDICATION To Mindy 6 TABLE OF CONTENTS LIST OF MUSICAL EXAMPLES .................................................................................. 10 LIST OF FIGURES ........................................................................................................ 16 LIST OF TABLES ........................................................................................................... 17 ABSTRACT ..................................................................................................................... 18 CHAPTER I: INTRODUCTION ..................................................................................... 19 Organization and Scope ....................................................................................... 20 Stravinsky’s Neoclassical Period ......................................................................... 21 Cadence ................................................................................................................ 22 Properties of the Common-Practice Cadence .......................................... 24 Misreading as a Literary and Musical Analytical Tool ....................................... 28 Harold Bloom’s Concept of “Misreading” .............................................. 28 Joseph Straus’s Application of Bloomian Theories to Twentieth-Century Music .................................................................. 30 Misreading as an Approach to Stravinsky’s Cadential Language ........... 34 Definition of Analytical Terms and Methods ...................................................... 36 Methods of Acquisition and Documentation ........................................... 36 Definition of Analytical Terms ................................................................ 39 7 TABLE OF CONTENTS continued CHAPTER II: A REVIEW OF TONAL VOICE-LEADING APPROACHES TO STRAVINSKY .............................................................................................. 43 Harmony .............................................................................................................. 43 Prolongation ............................................................................................. 44 Chord Construction .................................................................................. 47 Harmonic Motion and Tonal Centers ...................................................... 51 Counterpoint ........................................................................................................ 54 Cadence ................................................................................................................ 62 CHAPTER III: THE TONALLY OVERT IN STRAVINSKY’S NEOCLASSICAL CADENTIAL LANGUAGE ............................................................................... 67 Aspects of the Well-formed Common-practice Cadence .................................... 67 Stravinsky’s Harmonic Application of the Well-formed Aspects ....................... 71 ` The Tonic in Root Position ...................................................................... 71 The Dominant in Root Position ............................................................... 73 The Predominant ...................................................................................... 76 Stravinsky’s Contrapuntal Application of the Well-formed Aspects .................. 79 Approaches to the Tonic .......................................................................... 79 Treatment of the Chordal Seventh ........................................................... 79 Treatment of the Tritone .......................................................................... 80 Motion from 5̂ to 1̂ .................................................................................. 84 8 TABLE OF CONTENTS continued 6 The Cadential ........................................................................................ 86 4 CHAPTER IV: STRAVINSKY’S DEVIATION FROM THE WELL-FORMED PRACTICE .......................................................................................................... 90 Aspects of Post-classical Influence in Stravinsky’s Cadential Language ........... 90 Structural Deviations Relating to the Cadential Dominant...................... 92 Structural Deviations Relating to the Tonic Arrival .............................. 115 Contrapuntal Deviations from the Well-formed Model ......................... 123 Shifts as a Means of Disrupting the Well-formed Model ...................... 139 CHAPTER V: FURTHER CONSIDERATIONS ......................................................... 153 The Cadence Score ............................................................................................ 153 Composite Score Distribution ............................................................................ 155 Average Score by Work ..................................................................................... 159 Score Average by Genre .................................................................................... 161 Score Average by Decade .................................................................................. 162 Summary ............................................................................................................ 164 CHAPTER VI: CONCLUSION .................................................................................... 168 A More Complete Understanding ...................................................................... 168 Significantly Tonal Works ..................................................................... 169 Primarily Post-tonal Works.................................................................... 173 9 TABLE OF CONTENTS continued Significantly Post-tonal Works .............................................................. 174 Reinforcing Previous Tonal Explanations ......................................................... 176 Displacement in Stravinsky’s Cadential Language ............................... 176 Joseph Straus’s Associational Model..................................................... 179 APPENDIX A: CATALOG OF STRAVINSKY’S NEOCLASSICAL CADENTIAL GESTURES ....................................................................................................... 184 APPENDIX B: TABLE OF WELL-FORMED PROPERTIES .................................... 192 APPENDIX C: TABLE OF POST-TONAL PROPERTIES ......................................... 197 REFERENCES .............................................................................................................. 204 10 LIST OF MUSICAL EXAMPLES Musical Example
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