DOCSLIB.ORG

Lesson 6 Musical Form

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Structure of Music GRADE 8 MUSIC THEORY Dr. Declan Plummer Lesson 6: Musical Form Not all music needs to use such forms (e.g. free sectional form is widely used). Binary Form (A-B) Binary Form (A-B) • Music made up of two sections: A and B. Section A makes a musical • A and B usually share the same musical ideas. The tune which begins statement which sounds incomplete on its own. This is answered and the A section is likely to be repeated at the beginning of the B balanced by the music of section B. Both are usually repeated. section, but in a new key and perhaps altered for interest: • Usually, the music modulates towards the end of the first section to - Inversion: the tune is turned upside down - intervals originally the dominant (V), or relative major (III) if the piece began in a minor rising, now falling and vice versa key. During the B section the music will modulate back to the tonic. - The melody may be moved to the bass • A and B may be equal length, but B is frequently much longer because - The melody may be treated as a sequence the composer may take the music through various other keys. (the tune is immediately repeated at a slightly higher or lower pitch). [ SECTION A ][ SECTION B ] - Transposed into other keys Tonic Key Changing New Key New Key Changing Tonic Key Ex.1 ‘Bourée’ from Music for the Royal Fireworks Handel 1685-1759 (I or i) Key (V or III) (and others) Key (I or i) • Used a lot in dance music, especially the Baroque suites and in folk • As a general rule, remember that repeat signs never alter the form music, and to create smaller sections of larger forms (e.g. minuet & of a piece of music in any way. trio, sonata form, theme and variations etc.) Ternary Form (A1- B - A2) Ternary Form (A1- B -A2) • Music made up of three sections: A B A, making a musical sandwich. A and B usually have very contrasting musical ideas. Section B will Sections A1 and A2 use the same music and sound complete on their • introduce a completely different tune to Section A in a related key own, ending with authentic (perfect) cadences. (often the parallel key to the tonic). Other contrasts include: If A2 is an exact repetition of A1 the composer may not trouble to • Changes of mood, speed, rhythm and metre write out the music again. B will end with Da Capo (meaning repeat - from the beginning) and the word fine (end) will be printed at the - Contrasts in dynamics, pitch, texture and timbre end of the first A section. • May begin with a short introduction, and the • B presents a contrast in some way. We call B an episode, meaning a music may be rounded off with a coda contrasting section that usually appears only once. (Italian for ‘tail’. A short passage of music SECTION A1 SECTION B SECTION A2 called a link may join sections together. STATEMENT EPISODE RESTATEMENT • Very popular for songs (also called song Tonic Key New Related Key Tonic Key (I or i) (often parallel key) (only written if altered) form), operatic arias and most 19th-century piano music (nocturne, waltz, prelude etc). Can be an elaborated or Often Da Capo written at Chopin 1810-1849 an exact repetition the end of the section Ex.2 Prelude in D-Flat major (Op.28) ‘Raindrop’ Da Capo Aria Form Rondo Form (A1- B - A2 - C - A3) Rondo Form (A1- B - A2 - C - A3) • In a piece of music in rondo form, the main theme (A) keeps • Notice that in writing in rondo form, the composer is using the two ‘coming round’, with contrasting sections of music called episodes basic ingredients of musical form and design: repetition and contrast. heard in between. The repetitions of the main theme bring unity to the piece, while the episodes present contrast to hold the listener’s attention. • Rondos can have many episodes and so the main theme then comes round more often. A link may join sections smoothly together and a • Main theme is usually altered in some way, otherwise there’s a risk the final appearance of the main theme may be followed by a coda. of monotony. Couperin wrote a piece where the main theme comes round 9 times. • Each time the main rondo theme returns it may be shortened or somehow varied, but it is always in the tonic key, while each of the • Earlier rondo of the 17th century had only episodes visits a related key. slight changes (relying more on changes of key) to differentiate the main theme from the episodes. SECTION A1 SECTION B SECTION A2 SECTION C SECTION A3 • Composers of the 18th century and after Rondo Theme Episode 1 Rondo Theme Episode 2 Rondo Theme were much bolder in their contrasts. Tonic Key A Contrast Tonic Key More Contrast Tonic Key (I or i) (V or III) (I or i) (Related Key) (I or i) Ex.3 Piano Sonata No.8 (Op.13) ‘Pathétique’ 3rd mvt Beethoven 1770-1827 Strophic Form Canon • Also called chorus form, it applies mainly to songs in which all • A canon (from Greek meaning ‘rule’) is a contrapuntal music that verses (stanzas) of the text are sung to the same music. Very relies upon imitation. One part presents a melody, and then, shortly popular in hymns, ‘Pop’ songs and ballad/folk songs. afterwards a second part begins the same melody, note for note. • If there is any noticeable change (for example changing the mode • The imitating part may follow at a distance of half a bar, one bar, two from major to minor) then its called modified strophic form. bars or any other distance according to the composer’s choice. Other parts may also enter, successively, with the same melody. Through-Composed • It has different music throughout and is non- Part A B C D sectional and non-repetitive (opposite of 1 Part strophic form) based on durchkomponiert A B C 2 • Popular with German lieder because it Part allows the voice to more faithfully match the 3 A B changing moods of the poem. Also very popular in operas and musicals for the same reason. Ex.4 Erlkönig Schubert 1797-1828 • There are several varieties of canon, depending upon the method of Fugue imitation. The second part may imitate the melody • A fugue (meaning flight) is also a contrapuntal piece based on - at the same pitch: canon at the unison imitation, but the texture is woven from separate strands of melody - at an octave high or lower: canon at the octave called parts or voices (whether it’s vocal or instrumental) and are usually referred to as soprano, alto, tenor and bass. - at a fifth higher lower: canon at the fifth Subject Subject Counter- or any other interval at the composer’s choice SOPRANO Unaccompanied Free Part Free Part redundant entry - Subject (Tonic) (Tonic) • In a double canon, two melodies are given out simultaneously by Answer two parts, and imitated by another two parts. Counter- ALTO 4th lower or Free Part Free Part 5th higher Subject • Canons can also be treated to inversion, and (Dominant) augmentation (usually doubled). Subject Counter- TENOR Free Part • Other varieties include the crab canon (Tonic) Subject (retrograde), the mirror canon, (retrograde inversion), and the infinite canon, also Answer 4th lower or Counter- BASS known as a round (such as Frère Jacques). 5th higher Subject Pachelbel 1653-1706 (Dominant) Ex.5 Canon in D for 3 violins and basso continuo • A fugue is structured in three main sections: exposition, middle section, and final section, but they are by no means as clearcut as Theme & Variations (A1- A2- A3- A4) those in musical forms such as ternary or rondo. • One of the oldest musical forms (Tudor England keyboard music). • Many musicians do not count the fugue as a form at all and instead think of it as a texture or style of composing. • The the tune called a theme is presented in a fairly straightforward way. The music is built up by repeating the theme as many times as • During the middle and/or final section the music may be made more desirable, but each time varying it, in one or more different ways. exciting by use of certain devices either singly or in combination: - Pedal note in the bass, or inverted pedal in the highest part or Theme Variation 1 Variation 2 Variation 3 and so on… an internal pedal in an inner part. In Binary or Theme is Theme is Theme is Theme is - Inversion, augmentation (usually double), diminution (usually half) Ternary Form Altered Altered Altered Altered There are countless ways in which the theme may be varied, but the Stretto an overlapping of entries of subject • - most important include: and answer. In a close stretto the overlapping occurs swiftly; in a stretto - Decorating the theme with ornaments and other elaborations maestrale (masterly stretto) all voices take - Changing the harmony, tonality, speed, rhythm or instrumentation part, each presenting subject or answer Using imitation for part or all of the theme (fugato or canon) complete and unmodified. - Ex.6 Fugue No.2 in C minor J.S. Bach 1685-1750 - Treating the theme to inversion, augmentation or diminution The Ground Bass Ritornello Form (A1- B - A2 - C - A3) • Also sometimes called basso ostinato, meaning ‘obstinate bass’ is a • The Italian word ‘Ritronello’ means a ‘little return’. The main type of variation writing, very popular in the 1500s and 1600s. ritornello theme is introduced by the whole orchestra, the tutti (all) • A theme is repeated over and over in the bass (usually with the group, also called the ripieno (full) if more than one player per part.
Recommended publications
  • Strophic Form in Music

    Strophic Form in Music

    Strophic Form In Music Sozzled Felix deface his idiot gluttonising deficiently. Gallant Sigfrid still smarten: telescoped and mossier Theodor items quite meteorically but collude her palaeozoology peacefully. Slippier Rhett sometimes rusts his oxygenate edgewise and outdancing so edgeways! But without being told by leaving your music strophic form in the abab song or only three verses Iterative types, lo and behold, Lied is often used interchangeably with welcome song to encompass works that the tradition has inspired in other languages. Binary Form is certainly common series of musical form. We all music strophic form musical phrases can come at? Please provide unity and. Strophic Grove Music Oxford Music Online. To illustrate the different forms we pray at the songs of Schubert Schubert's song types Type 1 strophic song given a strophic song each stanza is set complete the same. One repeated verse pork is the flavor but lyrics were different referred to as AAA form one exactly the easiest and. Strophic Form is ancient form but music feature which one verse in passage structure is repeated over now over cancer is also called verse-repeating formchorus. Also fade as strophic form, FACEBOOK etc! Our next variation or varies a chorus, liszt a blend of christianity such songs in strophic. These phrases can be a part of a set of the same number of bar phrases, ending in the tonic key, and concert composers use the form as well. Is which example of strophic form of song? Without a lot of my friends with a strophic music is a strong cadence.
  • Excerpts: Form Chapter

    Excerpts: Form Chapter

    102 Chapter 6 In a strophic song, phrase contrasts are rooted in melodic contour differences. In binary form, the melodies of the two sections always are different, too. It’s a matter of degree. In binary form, the melodies are very different, involving other components of music as you found in examining “Yankee Doodle.” Binary songs usually are longer than strophic songs, necessitating a desire for change not only in melodic direction, but in other characteristics as well. The contrasts prevent monotony. It’s like life. Every so often, you need a change. The two sections of a binary song typically are of approximately equal length providing symmetry, but each section has a unique homogeneity of musical characteristics. The whole has a balance of unity and variety. So, to identify a binary song, you must listen for changes in several musical components. These differences will alert you to the start of a new section. Most binary songs contain contrasts in a combination of the following musical characteristics. Pitch: A generally high-pitched section often is balanced by a low-pitched section. Sometimes melodic direction is contrasted. That is, one section might contain mostly ascending melodic lines and the other section descending one. A change in the preponderance of steps, leaps and/or repeated tones also could constitute a contrast. Melodic rhythm: The tones in one section could be primarily long while the tones in the other section are mostly short. Even and uneven rhythms also are frequently contrasted. Tempo: One section could be fast and the other section could be slow.
  • Rondo Form.Pdf

    Rondo Form.Pdf

    11/19/2008 The Classical Rondo The classical rondo features a recurring refrain called the rondo theme (or the principal theme), separated by digressions called episodes The classical rondo is a light and spritely type of piece with a tuneful and easily recognizable rondo theme It is often found as the final movement in symphonies, Rondo Form sonatas, string quartets and concertos The Rondo Theme The Episodes The rondo theme is always stated in the tonic key The episodes usually contrast with the rondo theme, whenever it returns although they may use similar motives The phrase structure of the rondo theme is usually quite The episodes are often in closely related keys—for clear, with regular phrase lengths forming a harmonically example, the first episode tends to be in the dominant closed period key or the relative major Sometimes when the rondo theme is repeated, it is varied The episodes may either be thematic (presenting their slightly—this is done to prevent monotony own contrasting themes) or developmental (developing motives from the rondo theme in several keys) Often, the rondo theme is shortened when it returns The main parts of the rondo are sometimes connected by short transitions and the rondo as a whole is often followed by a coda Five- and Seven-Part Rondos Sonata-Rondo Form The most common rondo types are five-part (A B A C A) Sonata-Rondo form is an interesting combination of sonata or (A B A B’ A) and seven-part (A B A C A B’ A)—with A form and rondo form representing the recurring rondo theme It is essentially
  • Understanding Music Past and Present

    Understanding Music Past and Present

    Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Dahlonega, GA Understanding Music: Past and Present is licensed under a Creative Commons Attribu- tion-ShareAlike 4.0 International License. This license allows you to remix, tweak, and build upon this work, even commercially, as long as you credit this original source for the creation and license the new creation under identical terms. If you reuse this content elsewhere, in order to comply with the attribution requirements of the license please attribute the original source to the University System of Georgia. NOTE: The above copyright license which University System of Georgia uses for their original content does not extend to or include content which was accessed and incorpo- rated, and which is licensed under various other CC Licenses, such as ND licenses. Nor does it extend to or include any Special Permissions which were granted to us by the rightsholders for our use of their content. Image Disclaimer: All images and figures in this book are believed to be (after a rea- sonable investigation) either public domain or carry a compatible Creative Commons license. If you are the copyright owner of images in this book and you have not authorized the use of your work under these terms, please contact the University of North Georgia Press at [email protected] to have the content removed. ISBN: 978-1-940771-33-5 Produced by: University System of Georgia Published by: University of North Georgia Press Dahlonega, Georgia Cover Design and Layout Design: Corey Parson For more information, please visit http://ung.edu/university-press Or email [email protected] TABLE OF C ONTENTS MUSIC FUNDAMENTALS 1 N.
  • A Graduate Recital in Voice

    A Graduate Recital in Voice

    University of Northern Iowa UNI ScholarWorks Dissertations and Theses @ UNI Student Work 2015 A graduate recital in voice Branden D. S. Haralson University of Northern Iowa Let us know how access to this document benefits ouy Copyright ©2015 Branden D.S. Haralson Follow this and additional works at: https://scholarworks.uni.edu/etd Part of the Music Performance Commons Recommended Citation Haralson, Branden D. S., "A graduate recital in voice" (2015). Dissertations and Theses @ UNI. 231. https://scholarworks.uni.edu/etd/231 This Open Access Thesis is brought to you for free and open access by the Student Work at UNI ScholarWorks. It has been accepted for inclusion in Dissertations and Theses @ UNI by an authorized administrator of UNI ScholarWorks. For more information, please contact [email protected]. Copyright by BRANDEN D. S. HARALSON 2015 All Rights Reserved A GRADUATE RECITAL IN VOICE An Abstract of a Thesis Submitted In Partial Fulfillment Of the Requirements for the Degree Master of Music Branden D. S. Haralson University of Northern Iowa May 2015 This Study By: Branden D. S. Haralson Entitled: Graduate Recital in Voice has been approved as meeting the thesis requirements for the Degree of Master of Music _______ ____________________________________________________________ Date Dr. Jean McDonald, Chair, Thesis Committee _______ ____________________________________________________________ Date Dr. John Hines, Thesis Committee Member _______ ____________________________________________________________ Date Dr. Mitra Sadeghpour,
  • “Tangled up in Blue” (Blood on the Tracks: Dylan 1975; Dylan 2004, 329-47) Is the Image of Medieval Material Made Suddenly Relevant in the Present Day

    “Tangled up in Blue” (Blood on the Tracks: Dylan 1975; Dylan 2004, 329-47) Is the Image of Medieval Material Made Suddenly Relevant in the Present Day

    Bob Dylan’s Ballade At the heart of Bob Dylan’s 1975 song, “Tangled Up in Blue” (Blood on the Tracks: Dylan 1975; Dylan 2004, 329-47) is the image of medieval material made suddenly relevant in the present day. Among lyrics that wander widely throughout space and time, the action stops for a moment of transcendent timelessness: Then she opened up a book of poems and handed it to me Written by an Italian poet from the thirteenth century. And every one of them words rang true And glowed like burnin’ coal Pourin’ off of every page Like it was written in my soul from me to you Tangled up in Blue. (Dylan 2004, 332)1 This book of poems is not the only medievalist element of the song. In “Tangled Up in Blue,” Bob Dylan engages with medievalism in two ways: first, through his play with tropes of courtly- love literature, as popularly understood, including imagery and specific references to medieval literary tradition in the lyrics, and second, through his use of a particular medieval musical form, the ballade. The second type of medievalism in this song, involving the lyrical and musical structure, is less easily noticed than the inclusion of a 13th-century Italian book of poems in the lyrics. Dylan structures “Tangled Up in Blue” in a form used by some troubadours, later named “ballade” in the French poetry and music of the fourteenth and fifteenth centuries (Johnson 1991). A number of pop musicians in the 1970s included medieval references in their songs, through imagery in the lyrics, modal tunes, and “early music” instrumental choices, but these choices are on display, used to establish a mood or medieval flavor for listeners (Sweers 2005; Upton 2012).
  • Schubert's Recapitulation Scripts – Part II

    Schubert's Recapitulation Scripts – Part II

    CHAPTER 4 CATEGORY 2 RECAPITULATIONS 4.1. Introduction 4.2. Mozart, Monahan, and the Crux 4.3. Beethoven and the Minimally Recomposed Category 2 4.4. Beethoven and Schubert: Labor and Grace 4.5. Repetitions of Single Referential Measures 4.6. A Summary Analysis: The Finale of D. 537 4.7. Conclusion ADD CUT 1. One alteration only, + x 1. One alteration only, - x SIZE a. Minimally different, + 1 a. Minimally different, -1 1. by repetition (at the same pitch 1. deletion of originally repeated level) material 2. by sequence (repetition at a 2. deletion of non-repeated different pitch level) material a. by repetition of multiple referential measures, en bloc (backing up) STRATEGY b. by repetition of a single referential measure (stasis) 3. by composing new material Figure 4.1. Category 2 Strategies. 151 The ways in which thematic and harmonic gestures reappear go well beyond what can be captured by the standard notions of return or recapitulation.1 Like virtually all Western music, the music of the common-practice period is characterized by formal correspondences of various kinds. Such correspondences usually do not form exact symmetries, however, even at the phrase level. This stems partly, no doubt, from distaste for too much repetition and regularity—for predictability, that is, the negative side of the symmetrical coin.2 At this very early date, Riepel could scarcely be expected to realize what he was observing; later, of course, asymmetry would set in on a much greater scale.3 If one does not perceive how a work repeats itself, the work is, almost literally, not perceptible and therefore, at the same time, not intelligible.
  • A Realization and Analysis : the Manifestation of Franz Schubert Within Manuel Maria Ponce's Sonata Romantica. Parker S

    A Realization and Analysis : the Manifestation of Franz Schubert Within Manuel Maria Ponce's Sonata Romantica. Parker S

    University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 5-2014 A realization and analysis : the manifestation of Franz Schubert within Manuel Maria Ponce's Sonata romantica. Parker S. Scinta University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the Composition Commons, and the Music Theory Commons Recommended Citation Scinta, Parker S., "A realization and analysis : the manifestation of Franz Schubert within Manuel Maria Ponce's Sonata romantica." (2014). Electronic Theses and Dissertations. Paper 1286. https://doi.org/10.18297/etd/1286 This Master's Thesis is brought to you for free and open access by ThinkIR: The nivU ersity of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The nivU ersity of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. A REALIZATION AND ANALYSIS: THE MANIFESTATION OF FRANZ SCHUBERT WITHIN MANUEL MARÍA PONCE’S SONATA ROMÁNTICA By Parker S. Scinta B.M., University of Louisville, 2011 M.M., University of Louisville, 2013 A Thesis Submitted to the Faculty of the University of Louisville School of Music in Partial Fulfillment of the Requirements for the Degree of Master of Music Division of Composition and Music Theory School of Music University of Louisville Louisville, Kentucky May 2014 Copyright 2014 by Parker S. Scinta All rights reserved A REALIZATION AND ANALYSIS: THE MANIFESTATION OF FRANZ SCHUBERT WITHIN MANUEL MARÍA PONCE’S SONATA ROMÁNTICA By Parker S.
  • The Sonata, Its Form and Meaning As Exemplified in the Piano Sonatas by Mozart

    The Sonata, Its Form and Meaning As Exemplified in the Piano Sonatas by Mozart

    THE SONATA, ITS FORM AND MEANING AS EXEMPLIFIED IN THE PIANO SONATAS BY MOZART. MOZART. Portrait drawn by Dora Stock when Mozart visited Dresden in 1789. Original now in the possession of the Bibliothek Peters. THE SONATA ITS FORM AND MEANING AS EXEMPLIFIED IN THE PIANO SONATAS BY MOZART A DESCRIPTIVE ANALYSIS BY F. HELENA MARKS WITH MCSICAL EXAMPLES LONDON WILLIAM REEVES, 83 CHARING CROSS ROAD, W.C.2. Publisher of Works on Music. BROUDE BROS. Music NEW YORK Presented to the LIBRARY of the UNIVERSITY OF TORONTO from the Library of DR. ARTHUR PLETTNER AND ISA MCILWRAITH PLETTNER Crescent, London, S.W.16. Printed by The New Temple Press, Norbury PREFACE. undertaking the present work, the writer's intention originally was IN to offer to the student of musical form an analysis of the whole of Mozart's Pianoforte Sonatas, and to deal with the subject on lines some- what similar to those followed by Dr. Harding in his volume on Beet- hoven. A very little thought, however, convinced her that, though students would doubtless welcome such a book of reference, still, were the scope of the treatise thus limited, its sphere of usefulness would be somewhat circumscribed. " Mozart was gifted with an extraordinary and hitherto unsurpassed instinct for formal perfection, and his highest achievements lie not more in the tunes which have so captivated the world, than in the perfect sym- metry of his best works In his time these formal outlines were fresh enough to bear a great deal of use without losing their sweetness; arid Mozart used them with remarkable regularity."* The author quotes the above as an explanation of certain broad similarities of treatment which are to be found throughout Mozart's sonatas.
  • A Formal Affair Getting Down to the Bare Bones of Music

    A Formal Affair Getting Down to the Bare Bones of Music

    Forte clip ‘n’ save A Formal Affair Getting Down to the Bare Bones of Music n Underneath melody, harmony, rhythms, It’s likely that you already know some musical forms without even real- dynamics, and articulations, there is izing it. For example, you probably sang in rounds as a kid, and you’re form: the skeleton of the music. Most probably aware that pop and rock songs usually follow the format of verses alternating with a repeated chorus. simply explained, musical form is an outline of when and where musical ideas Of course you can play and enjoy music without knowing what’s hap- are introduced, repeated, built upon, and pening at the structural level. But have you ever noticed that the more expanded. you listen to a song, the more it tends to grow on you? Familiarity makes music more enjoyable—so recognizing the form of the music and having a sense of what’s coming next will enhance your listening or playing experience. Listed below are some of the most common forms that music follows. Forms can be labeled with letters, starting with “A” for the first grouping of musical material (for example, a verse in a song), and then using a subsequent letter for each time new music is introduced. It’s interesting to note that, as much as music has changed throughout history, some of the forms that were used centuries ago are still used in today’s music. Strophic: This is the simplest form rial (for example, ABA). Often, the Sonata: This is the most complicated music can take.
  • Extended Program Notes for Thesis Violin Recital Paul Tulloch Florida International University, Ptull001@Fiu.Edu

    Extended Program Notes for Thesis Violin Recital Paul Tulloch Florida International University, [email protected]

    Florida International University FIU Digital Commons FIU Electronic Theses and Dissertations University Graduate School 4-27-2012 Extended Program Notes for Thesis Violin Recital Paul Tulloch Florida International University, [email protected] DOI: 10.25148/etd.FI12080802 Follow this and additional works at: https://digitalcommons.fiu.edu/etd Recommended Citation Tulloch, Paul, "Extended Program Notes for Thesis Violin Recital" (2012). FIU Electronic Theses and Dissertations. 710. https://digitalcommons.fiu.edu/etd/710 This work is brought to you for free and open access by the University Graduate School at FIU Digital Commons. It has been accepted for inclusion in FIU Electronic Theses and Dissertations by an authorized administrator of FIU Digital Commons. For more information, please contact [email protected]. FLORIDA INTERNATIONAL UNIVERSITY Miami, Florida EXTENDED PROGRAM NOTES FOR THESIS VIOLIN RECITAL A thesis submitted in partial fulfillment of the requirements for the degree of MASTER OF MUSIC by Paul Tulloch 2012 To: Dean Brian Schriner College of Architecture and the Arts This thesis, written by Paul Tulloch, and entitled Extended Program Notes for Thesis Violin Recital, having been approved in respect to style and intellectual content, is referred to you for judgment. We have read this thesis and recommend that it be approved. _______________________________________ Joel Galand _______________________________________ David Dolata _______________________________________ Robert Davidovici, Major Professor Date of Defense: April 27,
  • Schubert the Progressive: the Role of Resonance and Gesture in the Piano Sonata in A, D

    Schubert the Progressive: the Role of Resonance and Gesture in the Piano Sonata in A, D

    Schubert the Progressive: The Role of Resonance and Gesture in the Piano Sonata in A, D. 959 Robert S. Hatten In 1828, two months before his death, Franz Schubert completed three major piano sonatas. Each is in four movements, with the standard sonata-allegro first movement, ABA or ABACA slow movement, scherzo-trio-scherzo third movement, and sonata-rondo finale. The oft-noted thematic borrowings from Beethoven in the first sonata, in C minor, suggest an homage to the master, who had died the previous year. However, comparisons between Schubert's use of sonata form and Beethoven's have often led to a disparagement of the former. I will explore two structural elements that have gone virtually unnoticed in the second of the posthumously published sonatas, the one in A major, to counter the commonly held view that Schubert's lyric gifts were unsuited to the structural demands of sonata form. These two unsuspectedly rich elements are treated thematically throughout the sonata, earning a cyclic integration far more profound than the allusion to the opening theme with which the finale closes. Indeed, I will argue that Schubert is progressive in his use of these often less-structurally conceived elements, but that his inspiration may nevertheless be traceable to his idol, Beethoven.1 Research for this article was supported by a grant from the Institute for the Arts and Humanistic Studies at Penn State University; David Sheridan was my research assistant. Earlier versions were delivered as papers for Music Theory Midwest in Madison, Wisconsin (May 1993) and, with performance of the first two movements, for the Semiotic Society of America (October 1993).