DOCSLIB.ORG

Chapter 1: Historical Background

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Chapter 1: Historical Background Chopin’s Third Piano Sonata, Op. 58: Late Style, Formal Ambiguity, and Performance Considerations by Adam Zukiewicz A thesis submitted in conformity with the requirements for the degree of Doctor of Musical Arts Graduate Department of Music University of Toronto © Copyright by Adam Zukiewicz 2012 Chopin’s Third Piano Sonata, Op. 58: Late Style, Formal Ambiguity, and Performance Considerations Adam Zukiewicz Doctor of Musical Arts Graduate Department of Music University of Toronto 2012 Abstract Chopin’s Third Piano Sonata, Op. 58, is the largest solo work of his late period. Chopin’s successful combination of the Classical and the Romantic aesthetic, which is explored in Chapter 1, results in an effective balancing of structural integrity and emotional fulfillment. Every movement of Op. 58 possesses qualities of movements in a traditional sonata cycle; however, the tendency to blend structural elements, the expansion of thematic material, and the postponement of climaxes contribute to Chopin’s distinctive treatment of the sonata genre. The issue of late style in Chopin’s output has recently garnered considerable attention. Most writers focus on particular compositional techniques such as the blending of musical genres and the increasing importance of counterpoint and chromaticism. New expressive elements include manifestations of a dandified aesthetic as well as emotional lassitude. These discussions are primarily related to works in Chopin’s original genres, neglecting somewhat the Third Piano Sonata, Op. 58. The second chapter of this dissertation examines the elements of Chopin’s late style present in Op. 58, emphasizing the sonata’s first three movements. These aspects of late ii style include blurring of genres, complex use of chromaticism, intricacy of counterpoint, textural and thematic variety, dandified impertinence, emotional lassitude and polyvalence. The employment of late stylistic features within the sonata model results in formal ambiguities, which are particularly manifest in the first movement. Chapter 3 reconsiders the movement’s thematic boundaries and especially evaluates the juncture between development and recapitulation. In Chapter 4, the last movement’s indebtedness to Chopin’s balladic model is examined. The gradual intensification of the primary theme together with the presence of a characterizing theme and dancelike episode suggest a merging of Chopin’s balladic practice with rondo form to create an end-directed hybrid structure. This study not only encourages further research into the implications of Chopin’s late style for his larger forms but also increases the variety of interpretative choices available to performers through awareness of Chopin’s stylistic features. The final chapter suggests how insights into musical structure, style, and genre might inform performances of this sonata and how these possibilities relate to a selection of recorded performances. iii Acknowledgments I would like to express my gratitude to Profs. Ryan McClelland and James Parker for their continuous guidance and support throughout the process of writing this dissertation. I would also like to thank Prof. Marietta Orlov for the inspiration to rethink the established interpretative practices of Chopin’s Third Piano Sonata, Op. 58, and Prof. Henri-Paul Sicsic for his stimulating ideas and remarks. Finally, I would like to thank my family, whose everlasting encouragement helped me immensely to achieve this stage of doctoral studies. iv Table of Contents Abstract…………………………………………………………………………………………...ii Acknowledgments………………………………………………………………………………..iv List of Examples…………..……………………………………………………………………..vii Chapter 1. Chopin and the Balance of Romantic and Classical Aesthetics……………………….1 Influence of educational background on Chopin’s compositional aesthetic……………...2 Role of the piano, piano music and sonata genre in Paris in 1800-1850……………….....4 Theoretical and analytical approaches to Sonata studies………………………………...10 Chopin and Sonatas..……………………………………………………………………..20 Evolution of the Sonata model……………………………………………..............20 Reception and criticisms of the Third Piano Sonata, Op. 58………………………....24 Significance of the Third Piano Sonata, Op. 58………….…………….....................27 Summary………………………………………………………………………………....32 Chapter 2. Musical language of Chopin’s late style and its manifestations in the Third Piano Sonata, Op. 58…………………………………………………………………………...35 New Compositional Techniques.………………………………………………………..37 Blend of genres………………………………………………………....................37 Chromaticism……………………………………………………………………..50 Texture…………………………………………………………………...............53 Elements of dandified aesthetic in Op. 58……………………………………………….58 Evolution of expression in the late style: Third Piano Sonata, Op. 58…………………..64 Summary…………………………………………………………………………………76 v Chapter 3. Structural ambiguities in the first movement of Chopin’s Third Piano Sonata, Op. 58……………………………………………………………………………..................78 Ambiguities in the first movement of Chopin’s Op. 58.………………………………...83 Variety of formal readings of the exposition………………………………………...83 Thematic boundaries of the P and T areas and harmonic ambiguities of the exposition………………………………………………………………………...91 Ambivalence of the entry of the recapitulation……………………………………...98 Summary………………………………………………………………………………..112 Chapter 4. Formal hybridization of the Finale of Chopin’s Third Piano Sonata, Op. 58………114 Diversity of formal interpretations of the Finale……………………………………….118 Balladic aspects of the Finale of Chopin’s Op. 58....…………………………………..141 Thematic intensification………………………………………….........................141 Thematic relations…………………………………………………….................147 Summary………………………………………………………………………………..162 Chapter 5. Some Performance Considerations…………………………………………………164 Bibliography……………………………………………………………………………………183 Discography…………………………………………………………………………………….188 vi List of Examples Example Page 1.1. “La grande coupe binaire,” of Anton Reicha …………………………………………......12 2.1. Chopin’s Op. 58, Mvt. 1, mm. 41-42……………………………………………………...39 2.2. Chopin’s Op. 58, Mvt. 1, mm. 56-58……………………………………………………...39 2.3. Chopin’s Op. 58, Mvt. 1, mm. 76-77……………………………………………………...40 2.4. Chopin’s Op. 58, Mvt. 1, mm. 13-18……………………………………………………...43 2.5. Chopin’s Op. 58, Mvt. 1, mm. 53-76……………………………………………………...46 2.6. Chopin’s Op. 58, Mvt. 1, mm. 76-93……………………………………………………...47 2.7. Chopin’s Op. 58, Mvt. 1, mm. 130-138…………………………………………………...49 2.8. Chopin’s Ballade in F minor, Op. 52, mm. 135-147……………………………………....49 2.9. Chopin’s Op. 58, Mvt. 1, mm. 22-24……………………………………………………....51 2.10. Chromatic build up in S area, Mvt. 1, mm. 72-73………………………………………..52 2.11. Descending chromatic lines of melody and bass, Mvt. 4, mm. 25-27…………………....52 2.12. Chromatic release used in the melody of K material, Mvt. 1, mm. 84-87………………..53 2.13. Chromatically descending bass line, Mvt. 3, mm. 110-112. ……………………………..53 2.14. Chopin’s Op. 58, Mvt. 3, mm. 28-30……………………………………………………..54 2.15. Chopin’s Op. 58, Mvt. 1, mm. 14-24……………………………………………………..56 2.16a. Chopin’s Op. 58, Mvt. 1, mm. 41-42…………………………………………………….56 2.16b. Chopin’s Op. 58, Mvt. 1, mm. 56-57…………………………………………………….56 2.16c. Chopin’s Op. 58, Mvt. 1, m. 66…………………………………………………………..57 2.16d. Chopin’s Op. 58, Mvt. 1, mm. 76-77……………………………………………………..57 2.17. Chopin’s Op. 58, Mvt. 1, mm. 94-97………………………………………………………57 2.18. Chopin’s Op. 58, Mvt. 1, mm. 17-18………………………………………………………60 2.19. Chopin’s Op. 58, Mvt. 1, mm. 29-30………………………………………………………61 2.20. Chopin’s Op. 58, Mvt. 2, mm. 1-4…………………………………………………………63 2.21. Chopin’s Op. 58, Mvt. 2, mm. 61-67………………………………………………………63 2.22. Chopin’s Op. 58, Mvt. 1, mm. 56-58………………………………………………………67 2.23. Chopin’s Op. 58, Mvt. 1, mm. 72-74………………………………………………………68 2.24. Chopin’s Op. 58, Mvt. 3, mm. 1-5…………………………………………………………71 vii 2.25. Chopin’s Op. 58, Mvt. 3, mm. 18-21………………………………………………………72 2.26. Chopin’s Op. 58, Mvt. 3, mm. 36-37………………………………………………………72 2.27. Chopin’s Op. 58, Mvt. 3, mm. 42-45………………………………………………………73 2.28. Chopin’s Op. 58, Mvt. 3, mm. 62-68………………………………………………………73 2.29. Chopin’s Op. 58, Mvt. 3, mm. 95-99………………………………………………………74 2.30. Chopin’s Op. 58, Mvt. 3, mm. 112-114……………………………………………………74 2.31. Chopin’s Op. 58, Mvt. 3, mm. 89-91………………………………………………………76 3.1. Leikin’s model of the exposition in the first movement of Chopin’s Op. 58……………….85 3.2. Chopin’s Op. 58, Mvt. 1, mm. 1-19…………………………………………………………87 3.3. Chopin’s Op. 58, Mvt. 1, mm. 16-40………………………………………………………..89 3.4. Dhuvabhark’s formal outline of the first movement of Chopin’s Op. 58…………………...90 3.5. Sumono’s model of the exposition of the first movement of Chopin’s Op. 58……………..91 3.6. Chopin’s Op. 58, Mvt. 1, mm. 12-16………………………………………………………..95 3.7. Opening of Chopin’s First Piano Sonata, Op. 4, mm. 1-4…………………………………..96 3.8. Chopin’s Op. 58, Mvt. 1, mm. 63-71………………………………………………………..99 3.9. Chopin’s Op. 58, Mvt. 1, mm. 130-138……………………………………………………103 3.10. Chopin’s Op. 58, Mvt. 1, mm. 136-154…………………………………………………..105 3.11. Prolonged dominant preparation in the retransition and start of the recapitulation with the S area in Chopin’s Second Sonata, Op. 35, Mvt. 1, mm. 157-173…………………………107 3.12. Preparation of the secondary theme in Chopin’s Op. 65, Mvt. 1, mm. 60-73...………….108 3.13. Retransition into recapitulation in Chopin’s Op. 65, Mvt. 1, mm. 175- 187……………………………………………………………………………………………...108 3.14. Helman’s model of Chopin’s mature sonata forms……………………………………....110 3.15. Suggested structural model of the first movement of Chopin’s Op. 58 incorporating elements of Chopin’s late style…………………………………………………………………112
Load more

Recommended publications
  • ¿Cuál Chopin? *
    ¿CUÁL CHOPIN? * Thomas Higgins Hoy día, los pianistas tienen a su disposición un gran número de edicio­ nes musicales de Chopin. En este artículo -descriptivo y analítico- serán exami­ nadas sólo las ediciones de mayor circulación o las que tengan un específico interés académico. Bajo este criterio podemos agrupar más de media docena de ediciones: l . Las Obras Completas de Fryderyk Chopin (Varsovia-Cracovia: Publicaciones de Música Polaca, 1949), a la que nos referiremos de ahora en adelante como la Edición Polaca Completa. Veintiséis volúmenes editados por Paderewsi0 , Bronarski y Turcinski. 2. La Edición Nacional Polaca (Varsovia: Przedstawicielstwo Wydawructwo Polskich, 1967). Baladas editadas por Jan Ekier. 3. La Edición Wiener Vrtext (Viena: Edición Universal, 19 3). Preludios edi­ tados por Bemard Hansen, con guías interpretativas de Jorg Demus; Estudio op.lO y 25. n'oís Nouvelles Etudes editados por Paul Badura Skoda; Impromp­ tus y Scherzos editados por Jan Ekier. 4. La Edición Henle Vrtext (Duisburg-Munich:Henle erlag, 195 . Doce volúmenes; el primero, agotado, y el último, editado por Ewald Zimmennan. 5. Dos colecciones de Schi.nner, una editada por Karol MiJnili , -posiblemente reimpresión de su edición para Kistner (Leipzig, 18 9: 1 vol. y Leipzig, 1 17 vol.-), por ejemplo: Preludios, copyright de Schimler 191-; l:l otr:I. editada por Rafael Joseffy, por ejemplo: los Estudios copyright de hirmer 1 1 . • Wbose ChoPin? 19th Ccntul)/ Music 1981. 01. ,pag. QUODLIBET éstas hay que añadir una última, muy inferior, casi un libelo, que es la edición de los Estudios, por Arthur Friedheim. A pesar de su ínfima calidad, Schrirmer aftrma en su Music Teacher's Pocket Memo Book de 1977 que fue la quinta edición más vendida de las músicas para piano.
    [Show full text]
  • Chopin's Nocturne Op. 27, No. 2 As a Contribution to the Violist's
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2014 A tale of lovers : Chopin's Nocturne Op. 27, No. 2 as a contribution to the violist's repertory Rafal Zyskowski Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Zyskowski, Rafal, "A tale of lovers : Chopin's Nocturne Op. 27, No. 2 as a contribution to the violist's repertory" (2014). LSU Doctoral Dissertations. 3366. https://digitalcommons.lsu.edu/gradschool_dissertations/3366 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. A TALE OF LOVERS: CHOPIN’S NOCTURNE OP. 27, NO. 2 AS A CONTRIBUTION TO THE VIOLIST’S REPERTORY A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Rafal Zyskowski B.M., Louisiana State University, 2008 M.M., Indiana University, 2010 May 2014 ©2014 Rafal Zyskowski All rights reserved ii Dedicated to Ms. Dorothy Harman, my best friend ever iii ACKNOWLEDGMENTS As always in life, the final outcome of our work results from a contribution that was made in one way or another by a great number of people. Thus, I want to express my gratitude to at least some of them.
    [Show full text]
  • Interpreting Tempo and Rubato in Chopin's Music
    Interpreting tempo and rubato in Chopin’s music: A matter of tradition or individual style? Li-San Ting A thesis in fulfilment of the requirements for the degree of Doctor of Philosophy University of New South Wales School of the Arts and Media Faculty of Arts and Social Sciences June 2013 ABSTRACT The main goal of this thesis is to gain a greater understanding of Chopin performance and interpretation, particularly in relation to tempo and rubato. This thesis is a comparative study between pianists who are associated with the Chopin tradition, primarily the Polish pianists of the early twentieth century, along with French pianists who are connected to Chopin via pedagogical lineage, and several modern pianists playing on period instruments. Through a detailed analysis of tempo and rubato in selected recordings, this thesis will explore the notions of tradition and individuality in Chopin playing, based on principles of pianism and pedagogy that emerge in Chopin’s writings, his composition, and his students’ accounts. Many pianists and teachers assume that a tradition in playing Chopin exists but the basis for this notion is often not made clear. Certain pianists are considered part of the Chopin tradition because of their indirect pedagogical connection to Chopin. I will investigate claims about tradition in Chopin playing in relation to tempo and rubato and highlight similarities and differences in the playing of pianists of the same or different nationality, pedagogical line or era. I will reveal how the literature on Chopin’s principles regarding tempo and rubato relates to any common or unique traits found in selected recordings.
    [Show full text]
  • An Investigation of the Sonata-Form Movements for Piano by Joaquín Turina (1882-1949)
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Birmingham Research Archive, E-theses Repository CONTEXT AND ANALYSIS: AN INVESTIGATION OF THE SONATA-FORM MOVEMENTS FOR PIANO BY JOAQUÍN TURINA (1882-1949) by MARTIN SCOTT SANDERS-HEWETT A dissertatioN submitted to The UNiversity of BirmiNgham for the degree of MASTER OF MUSIC DepartmeNt of Music College of Arts aNd Law The UNiversity of BirmiNgham September 2014 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT Composed between 1909 and 1946, Joaquín Turina’s five piano sonatas, Sonata romántica, Op. 3, Sanlúcar de Barrameda, Op. 24, Sonata Fantasía, Op. 59, Concierto sin Orquesta, Op. 88 and Rincón mágico, Op. 97, combiNe established formal structures with folk-iNspired themes and elemeNts of FreNch ImpressioNism; each work incorporates a sonata-form movemeNt. TuriNa’s compositioNal techNique was iNspired by his traiNiNg iN Paris uNder ViNceNt d’Indy. The unifying effect of cyclic form, advocated by d’Indy, permeates his piano soNatas, but, combiNed with a typically NoN-developmeNtal approach to musical syNtax, also produces a mosaic-like effect iN the musical flow.
    [Show full text]
  • The Use of the Polish Folk Music Elements and the Fantasy Elements in the Polish Fantasy on Original Themes In
    THE USE OF THE POLISH FOLK MUSIC ELEMENTS AND THE FANTASY ELEMENTS IN THE POLISH FANTASY ON ORIGINAL THEMES IN G-SHARP MINOR FOR PIANO AND ORCHESTRA OPUS 19 BY IGNACY JAN PADEREWSKI Yun Jung Choi, B.A., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2007 APPROVED: Adam Wodnicki, Major Professor Jeffrey Snider, Minor Professor Joseph Banowetz, Committee Member Graham Phipps, Director of Graduate Studies in the College of Music James C. Scott, Dean of the College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Choi, Yun Jung, The Use of the Polish Folk Music Elements and the Fantasy Elements in the Polish Fantasy on Original Themes in G-sharp Minor for Piano and Orchestra, Opus 19 by Ignacy Jan Paderewski. Doctor of Musical Arts (Performance), May 2007, 105 pp., 5 tables, 65 examples, references, 97 titles. The primary purpose of this study is to address performance issues in the Polish Fantasy, Op. 19, by examining characteristics of Polish folk dances and how they are incorporated in this unique work by Paderewski. The study includes a comprehensive history of the fantasy in order to understand how Paderewski used various codified generic aspects of the solo piano fantasy, as well as those of the one-movement concerto introduced by nineteenth-century composers such as Weber and Liszt. Given that the Polish Fantasy, Op. 19, as well as most of Paderewski’s compositions, have been performed more frequently in the last twenty years, an analysis of the combination of the three characteristic aspects of the Polish Fantasy, Op.19 - Polish folk music, the generic rhetoric of a fantasy and the one- movement concerto - would aid scholars and performers alike in better understanding the composition’s engagement with various traditions and how best to make decisions about those traditions when approaching the work in a concert setting.
    [Show full text]
  • The Sonata Thomas Schmidt-Beste Frontmatter More Information
    Cambridge University Press 978-0-521-75631-0 — The Sonata Thomas Schmidt-Beste Frontmatter More Information Cambridge Introductions to Music The Sonata What is a sonata? Literally translated, it simply means ‘instrumental piece’. It is the epitome of instrumental music, and is certainly the oldest and most enduring form of ‘pure’ and independent instrumental composition, beginning around 1600 and lasting to the present day. Thomas Schmidt-Beste analyses key aspects of the genre including form, scoring and its social context – who composed, played and listened to sonatas? In giving a comprehensive overview of all forms of music which were called ‘sonatas’ at some point in musical history, this book is more about change than about consistency – an ensemble sonata by Gabrieli appears to share little with a Beethoven sonata, or a trio sonata by Corelli with one of Boulez’s piano sonatas, apart from the generic designation. However, common features do emerge, and the look across the centuries – never before addressed in English in a single-volume survey – opens up new and significant perspectives. Thomas Schmidt-Beste is Professor and Head of Music at Bangor University, North Wales. © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-75631-0 — The Sonata Thomas Schmidt-Beste Frontmatter More Information Cambridge Introductions to Music ‘Cambridge University Press is to be congratulated for formulating the idea of an “Introductions to Music” series.’ Nicholas Jones, The Musical Times Each book in this series focuses on a topic fundamental to the study of music at undergraduate and graduate level.
    [Show full text]
  • Audition Repertoire, Please Contact the Music Department at 812.941.2655 Or by E-Mail at AUDITION REQUIREMENTS for VARIOUS DEGREE CONCENTRATIONS
    1 AUDITION GUIDE AND SUGGESTED REPERTOIRE 1 2 TABLE OF CONTENTS AUDITION REQUIREMENTS AND GUIDE . 3 SUGGESTED REPERTOIRE Piano/Keyboard . 5 STRINGS Violin . 6 Viola . 7 Cello . 8 String Bass . 10 WOODWINDS Flute . 12 Oboe . 13 Bassoon . 14 Clarinet . 15 Alto Saxophone . 16 Tenor Saxophone . 17 BRASS Trumpet/Cornet . 18 Horn . 19 Trombone . 20 Euphonium/Baritone . 21 Tuba/Sousaphone . 21 PERCUSSION Drum Set . 23 Xylophone-Marimba-Vibraphone . 23 Snare Drum . 24 Timpani . 26 Multiple Percussion . 26 Multi-Tenor . 27 VOICE Female Voice . 28 Male Voice . 30 Guitar . 33 2 3 The repertoire lists which follow should be used as a guide when choosing audition selections. There are no required selections. However, the following lists illustrate Students wishing to pursue the Instrumental or Vocal Performancethe genres, styles, degrees and difficulty are strongly levels encouraged of music that to adhereis typically closely expected to the of repertoire a student suggestionspursuing a music in this degree. list. Students pursuing the Sound Engineering, Music Business and Music Composition degrees may select repertoire that is slightly less demanding, but should select compositions that are similar to the selections on this list. If you have [email protected] questions about. this list or whether or not a specific piece is acceptable audition repertoire, please contact the Music Department at 812.941.2655 or by e-mail at AUDITION REQUIREMENTS FOR VARIOUS DEGREE CONCENTRATIONS All students applying for admission to the Music Department must complete a performance audition regardless of the student’s intended degree concentration. However, the performance standards and appropriaterequirements audition do vary repertoire.depending on which concentration the student intends to pursue.
    [Show full text]
  • Fryderyk Franciszek Chopin
    Fryderyk Franciszek Chopin A life-long nostalgia for Poland in compositions of the most outstanding Polish composer The first piece of music composed by Chopin was a Polonaise and the last one a Mazurka, both national Polish Dances. The two pieces are indicative of the composer’s love for his homeland, that is so often expressed in his music. Fryderyk Chopin was living in exile, and separation from Poland was the essence of his inspiration. Chopin was born in the village of Żelazowa Wola, on 1 March, 1810. His father, Mikołaj Chopin was French and came to Poland at the age of sixteen; his mother, Tekla Justyna Krzyżanowska was Polish. When Fryderyk was barely 1 year old the family moved to Warsaw. Chopin was exposed to music since his early childhood. His mother was a singer and played the piano, his father played the flute and violin, and his sister was a pianist. Young Fryderyk grew up with love and care and he had a happy childhood. At the age of 6, Chopin started regular piano classes. His teacher – Wojciech Żywny quickly realized that his student was extremely talented and therefore started grooming him in the skills of piano playing. He was introduced to the music of Johann Sebastian Bach and Wolfgang Amadeus Mozart. From the beginning Chopin revealed a sense of musical improvisation. His early compositions were mostly polonaises, marches and variations. His father would often help him in notating his musical ideas. As a young performer and composer, Fryderyk was hosted at the concerts of Warsaw’s aristocracy including noble families such as Czartoryscy or Zamoyscy.
    [Show full text]
  • 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 UMI 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. Photographs included in the original manuscript have been reproduced xerographically 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. ProQuest Information and Leaming 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 UMI UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE A PEDAGOGICAL GUIDE TO THE 25 ETUDES MÉLODIQUES OPUS 45 OF STEPHEN HELLER A Document SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS By LARISSA MARIE KIEFER Norman, Oklahoma 2001 UMI Number: 3009547 UMI UMI Microform 3009547 Copyright 2001 by Bell & Howell Information and Leaming Company.
    [Show full text]
  • Bob Houston, Percussion DMA Recital Assisted by Carol Houston, Piano Conrad Bauschka, Trumpet Dr
    37? .A/g/J Ato, /£5"^ A COMPARATIVE ANALYSIS OF SELECTED KEYBOARD COMPOSITIONS OF CHOPIN, BRAHMS, AND FRANCK AS TRANSCRIBED FOR THE MARIMBA BY CLAIR OMAR MUSSER, EARL HATCH, AND FRANK MAC CALLUM TOGETHER WITH THREE RECITALS OF WORKS BY BARTOK, CRUMB, MIYOSHI, KRAFT AND OTHERS DISSERTATION Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts Robert E. Houston, B.A., M. M Denton, Texas December, 1980 Houston, Robert E., Jr., A Comparative Analysis of Selected Keyboard Compositions of Chopin, Brahms, and Franck as Transcribed for the Marimba by Clair Omar Musser, Earl Hatch, and Frank Mac Callum Together with Three Recitals of Works by Bartok, Crumb, Miyoshi, Kraft and Others. Doctor of Musical Arts, December, 1980, 53 pp., 14 illustrations, bibli- ography, 27 titles. This study is an examination of Earl Hatch and Clair Musser's transcriptions for marimba of Chopin's Waltz, Opus 64 No. 1, Musser's arrangement of Chopin's Mazurka, Opus 17 No. 4, Hatch's setting of Brahms' Hungarian Dance No. 5, and Frank Mac Callum's treatment of Franck's "Chorale" from the Prelude, Chorale and Fugue. Additionally, the role of the transcription during the Romantic Period, the historical development of the marimba tran- scription, and performance considerations of the specific works presented are discussed. Some of the most successful marimba transcriptions are for the marimba or mallet ensemble. Today writers are more judicious in their choice of subject matter for ensemble transcrip- tion, drawing upon a variety of musical styles from differing musical periods.
    [Show full text]
  • Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata
    Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic Volume 3 Issue 1 Article 10 September 2010 Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata Mark Richards [email protected] Follow this and additional works at: https://trace.tennessee.edu/gamut Part of the Music Commons Recommended Citation Richards, Mark (2010) "Elements of Sonata Theory: Norms, Types, and Deformations in the Late- Eighteenth-Century Sonata," Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic: Vol. 3 : Iss. 1 , Article 10. Available at: https://trace.tennessee.edu/gamut/vol3/iss1/10 This Review is brought to you for free and open access by Volunteer, Open Access, Library Journals (VOL Journals), published in partnership with The University of Tennessee (UT) University Libraries. This article has been accepted for inclusion in Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic by an authorized editor. For more information, please visit https://trace.tennessee.edu/gamut. REVIEW ELEMENTS OF SONATA THEORY: NORMS, TYPES, AND DEFORMATIONS IN THE LATE-EIGHTEENTH- CENTURY SONATA, BY JAMES HEPOKOSKI AND WARREN DARCY. OXFORD AND NEW YORK: OXFORD UNIVERSITY PRESS, 2006. MARK RICHARDS* hat we call classical sonata form encompasses such a wide array of compositional W possibilities that to describe it in all its instantiations would seem to be an impossible task. And yet, it is toward this admirable goal that James Hepokoski and Warren Darcy aspire in their 2006 book Elements of Sonata Theory: Norms, Types, and Deformations in the Late- Eighteenth-Century Sonata.
    [Show full text]
  • MTO 20.2: Klorman, “Musical Form: Mapping the Territories”
    Volume 20, Number 2, June 2014 Copyright © 2014 Society for Music Theory “Musical Form: Mapping the Territories”: A Conference Report Edward Klorman KEYWORDS: form, sonata form, conference, Estonia Received May 2014 [1] The Seventh International Conference on Music Theory, entitled “Musical Form: Mapping the Territories,” was jointly organized by the Estonian Academy of Music and Theater and the Estonian Arnold Schoenberg Society. It took place 8–11 January 2014 in the cities of Tallinn and Pärnu. [2] The conference comprised thirty-eight regular papers, (1) three keynote addresses (by William Caplin and Nathan John Martin, James Hepokoski, and Steven Vande Moortele), and a roundtable in which Caplin, Martin, and Hepokoski were joined by Poundie Burstein and Peter H. Smith. Although this roster (and the conference’s theme) might suggest a focus on “common-practice” repertoire, nearly half the papers pertained to music after 1900. The pre-1900 sessions were overwhelmingly dominated by scholars based in North America (72%, including keynotes), whereas the inverse was true of sessions on post-1900 music (75% by non-North Americans). The complete conference program and abstracts are available in the Appendix . I will discuss each part of the conference in turn, including some unifying themes common to both. I. MUSIC BEFORE 1900 [3] The interpretation of what Sonata Theory regards as a continuous exposition constituted a central theme—or, perhaps better, a framing function—for the tonal portion of the conference, which opened with two keynotes, one by Caplin and Martin and the other by Hepokoski, and culminated in the roundtable discussion. Since Caplin’s ( 1998 , 2009 ) and Hepokoski–Darcy’s ( 2006 , 2009 ) theories have dominated studies of sonata form for over a decade, their relative positions are already well-enough known.
    [Show full text]