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Information to Users INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UM I a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back o f the book. Photographs included in the original manuscript have been reproduced xerographicaUy in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zeeb Road, Arm Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 THE UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE THE PIANO SONATAS OF SIR MICHAEL TTPPETT: A CONTEXTUAL AND ANALYTICAL STUDY A Document SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS By AMANDA LEIGH STRINGER Norman, Oklahoma 1999 UMI Number: 9930840 UMI Microform 9930840 Copyright 1999, by UMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 © Copyright by Amanda Leigh Stringer All Rights Reserved. THE PIANO SONATAS OF SIR MICHAEL TIPPETT: A CONTEXTUAL AND ANALYTICAL STUDY A Document APPROVED FOR THE SCHOOL OF MUSIC BY Dr. Edward Gates, Major Professor Dr. Ese Meza Dr. Michael Rogers Dr. Eu^ne Enrico Dr. Robert Shambaugh ACKNOWLEDGEMENTS I would like to thank sincerely the members of my committee—Dr. Eugene Enrico, Dr. Edward Gates, Dr. Esequiel Mesa, Dr. Michael Rogers, and Dr. Robert Shambaugh—for their guidance in this project and support throughout my doctoral studies. I offer special thanks to Dr. Michael Rogers for teaching me the techniques and importance of theoretical analysis, and to Dr. Edward Gates, whose generosity, copious knowledge, and superb musicianship continually set an unparailed example for me. This research needed to write this paper would not have been possible without the financial assistance of the International Rotary Foundation, which provided me with the opportunity to study and live in London, England, during 1996-97. For those fabulous nine months and the experiences they afforded me, I will always be grateful to the Rotary Club of Hattiesburg, Mississippi; Rotary District 6840; the Rotary Club of Ealing, London; and the King's College London Faculty of Music. I acknowledge gratefully European American Music Distributors Corporation for allowing me to use examples of Tippett's music in this d o cum ent. With much love and admiration I thank my dear husband, Greg Sauer, whose perspective and companionship are truly a blessing to me, and my parents, Mary Ann and Gary Stringer, who together gave me a passion for music and a love of words. Finally, I am grateful for Sir Michael Tippett, whose beautiful life, thoughtful music, and fervent spirit inspire me. IV TABLE OF CONTENTS ACKNOWLEDGEMENTS..................................................................................... iv TABLE OF CONTENTS......................................................................................... v LIST OF DIAGRAMS................................................................................................ v ü LIST OF MUSIC EXAMPLES................................................................................. v iii ABSTRACT................................................................................................................. x I. INTRODUCTION TO THE STUDY Purpose of Study ......................................................................................... 1 N eed for Study ............................................................................................. 3 Design and Procedure .........................................: ...................................... 4 Related Literature .......................................................................................... 8 II. BBC INTERVIEW Introduction to the Piano Sonatas ............................................................13 Transcribed Radio Interview ..................................................................... 15 HI. PRELUDE........................................................................................................... 25 TV. SONATA NO. 1...................................................................................................30 Third Movement ........................................................................................... 31 First Movement ............................................................................................. 38 Second Movement ....................................................................................... 42 Fourth Movement .........................................................................................43 V. INTERLUDE I ...................................................................................................... 47 VI. SONATA NO. 2 ..................................................................................................53 Vn. INTERLUDE H .................................................................................................. 65 vin. SONATA NO. 3 ................................................................................................70 First Movement .............................................................................................. 74 Second Movement ...................................................................................... 84 Third Movement ........................................................................................ 86 IX. INTERLUDE ïïl.................................................................................................93 X. SONATA NO. 4 .................................................................................................. 100 First Movement ............................................................................................ 103 Second Movement ...........................................................................................115 Third Movement ........................................................................................... 123 Fourth Movement............................................................................................127 Fifth Movement ............................................................................................... 132 XI. POSTLUDE............................................................................................................143 Xn. BIBLIOGRAPHY.................................................................................................150 VI LIST OF DIAGRAMS I. DIAGRAM NO. 1 Sonata No. 2—Form and Materials .............................................................62 n. DIAGRAM NO. 2 Sonata No. 4—Second Movement Fugue ................................................117 m. DIAGRAM NO. 3 Sonata No. 4—Fourth Movement Toccata ............................................... 128 IV. DIAGRAM NO. 4 Sonata No. 4—Fifth Movement Reduction of Them e ..........................134 V. DIAGRAM NO. 5 Sonata No. 4—Fifth Movement Theme and Variations .....................135 Vll LIST OF MUSIC EXAMPLES EXAMPLE PAGE 1. Tippett Piano Sonata No. 1/ iii a) mm. 1-6......................................................................................................... 32 b) mm. 22-26.....................................................................................................33 c) mm. 27-39 .....................................................................................................33 d) mm. 63-73 ..................................................................................................... 33 e) mm. 85-90 ..................................................................................................... 34 f) mm. 97-106 .................................................................................................. 34 2. Tippett Piano Sonata No. 1/iii, mm. 172-177 ............................................ 37 3. Tippett Piano Sonata No. 1/ii, mm. 1,17 ......................................................43 4. Tippett Piano Sonata No. 1 / iv, mm. 150-151 ...............................................44 5. Tippett Piano Concerto and The Midsummer Marriage a) Tippett Piano Concerto, i, mm. 1-7 ........................................................50 b) Tippett The Midsummer Marriage, mm. 476-478 .......................... 51 6. T ippett Piano Sonata No. 2 a) mm. 1-4.......................................................................................................... 55 b) mm. 5-7 ..........................................................................................................55
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