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Tonality and Form in Selected French Piano Sonatas: 1900-1950

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Tonality and Form in Selected French Piano Sonatas: 1900-1950 INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. Silver prints of "photographs" may be ordered at additional charge by writing the Order Department, giving the catalog number, title, author and specific pages you wish reproduced. 5. PLEASE NOTE: Some pages may have indistinct print. Filmed as received. University Microfilms International 300 North Zeeb Road Ann Arbor, Michigan 48106 USA St. John's Road, Tyler's Green High Wycombe, Bucks, England HP10 8HR 77-31,907 KNIESNER, Virginia Elizabeth, 1951- TONALITY AND FORM IN SELECTED FRENCH PIANO SONATAS: 1900-1950. The Ohio State University, Ph.D., 1977 Music University Microfilms International , Ann Arbor, M'chigan 48106 © Copyright by Virginia Elizabeth Kniesner 1977 TONALITY AND FORM IN SELECTED FRENCH PIANO SONATAS s 1900-1950 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Virginia Elizabeth Kniesner, B.M., M.A. * * # * «• The Ohio State University 1977 Reading Committee: Approved byi Professor Burdette Green Professor Norman Phelps Professor William Poland W'jdl Adviser School of Music ACKNOWLEDGMENT I wish to thank my adviser, Professor William Poland, for his excellent guidance and criticism throughout the course of this investigation. My discussions with both Professor Norman Phelps and Professor Burdette Green proved to be most helpful in enriching the contents of this study and in making my thoughts clear. I am grateful to my Graduate School Representative, Professor Emeritus.Wave Shaffer, for his careful reading of the dissertation in preparation for my oral examination, I would also like to express my gratitude to the following music librarians who assisted in making the necessary musical scores available for study« Olga Buth at The Ohio State University; Arne Arneson at the University of Colorado at Boulder; Lenore Coral at the University of Wisconsin at Madison; Virginia Gifford at Vassar College? Barbara Winchester at the Library of the Harvard Musical Association; Prank Campbell at the New York Public Library at Lincoln Center; Donald Leavitt at the Library of Congress; and Jean-Michel Nectoux at the Bibliotheque Nationale in Paris. The copyright permission from Salabert, Leduc, Presser, Dover, and European American Music Distributors is ii greatly appreciated as well as the cooperation and prompt mailing of piano catalogues from thirty-nine French publishers or their American representatives. An especially warm "thank you" is offered to Elizabeth, Albert, John, and Daniel Kniesner, Their faith and encouragement throughout my graduate studies will always be remembered. iii VITA May 17, 1951 Born - Cleveland, Ohio 1972 E.M. in Piano Performance, Kent State University, Kent, Ohio 1973 M.A. in Music Theory, The Ohio State University, Columbus, Ohio 1976-1977 Teaching Associate, School of Music, The Ohio State University, Columbus, Ohio FIELDS OF STUDY Major Field: Music Theory Studies in Musical Analysis: Professor William Poland Studies in the History of Music Theory: Professor Norman Phelps Studies in Music History and Literature: Professor Keith Mixter iv TABLE OF CONTENTS Page ACKNOWLEDGMENT ii VITA iv LIST OF TABLES ix LIST OF EXAMPLES xiii CHAPTER ONE INTRODUCTION 1 Purpose and Scope 2 Organization 5 Tonality and Harmony: Analytical Symbols and Terminology 8 Form: Analytical Symbols and Terminology 27 Summary 32 CHAPTER TWO HISTORICAL BACKGROUND 33 Early Uses of the Term, "Sonata" .... 3^- A Brief Historical Survey of the Piano Sonata 35 Theoretical Writings Concerning the Sonata Genre ^0 Tonality and Form in the Piano Sonatas from the Standard Repertoire ^1 v Page The Status of the Piano Sonata in French Music« 1780-1950 58 An Overview of the French Piano Sonata from 1951 "to 1975 67 Summary 79 CHAPTER THREE SONATAS s 1900 TO 1915 81 Historical Setting 81 Paul Dukas' Sonate en mi bemol mineur (19001 ... 84 Theodore Lack's Sonate Pastorale. Op. 253 (1906) 101 Jean Hure's Premiere Sonate (1907) .. 115 Vincent d'Indy's Sonate en mi. Op. 63 (1907) 128 Summary 143 CHAPTER FOUR SONATAS: 1916 TO 1930 153 Historical Setting 154 Darius Milhaud's Sonate (1916) 158 Pierre de Breville's Sonate en re ma.jeur (1923) 185 Yves de la Casiniere's Sonate en si mineur (1926) 196 Henri Sauguet's Sonate en re ma.jeur (1926) 212 Summary - 224 vi Page CHAPTER FIVE SONATAS: 1931 TO 1940 234 Historical Setting 234 Tony Aubin's Sonate en si mineur (1931) 237 Georges Auric's Sonate en fa ma.ieur (1932) 249 Emmanuel Bondeville's Sonate (1937) 268 Summary 282 CHAPTER SIX SONATAS: 1941 TO 1950 292 Historical Setting 293 Jean-Michel Damase's Sonate. OP. 24 (1943) .... 295 Andre Jolivet's Sonate pour piano (191-5) 311 Henri Dutilleux's Sonate (1948) 328 Summary 35-1 CHAPTER SEVEN SUMMARY 362 Analytical Method 364 Tonal Language, Piano Style, and Thematic Content 367 Form of the Sonata as a Whole 370, Form within the Movement 374 Tonal Organization of the Sonata as a Whole 376 vii Page Tonal Organization within the Movement 381 Conclusion and Recommendation 398 APPENDIX AND TITLE INDEX 4-02 LIST OF REFERENCES 4-08 ADDITIONAL READINGS 413 viii LIST OF TABLES Page 1. Key Symbols: Roman Numerals and Accidentals for 42 Keys Eased on C as the Tonic Pitch ... 9 2. Lavignac's Closely Related Keys 13 3. D'lnay's Closely Related Keys ............... 14 4. Key Relationships from a Major Tonic Key. .... 17 5. Key Relationships from a Minor Tonic Key .... 17 6. Darkness and Brightness of Keys from a Major Tonic 21 7. Darkness and Brightness of Keys from a Minor Tonic 21 8. Symbolization of Harmonies That Are Part of Diatonic Seventh Chords in Major and Minor Keys 26 9. List of Abbreviations 31 10. Summary of Key Relationships in the Three- movement Piano Sonatas from the Standard Repertoire 54 11. Summary of Key Relationships in the Pour- movement Piano Sonatas from the Standard Repertoire 54 12. Dukas' Sonate en mi bemol mineur. Analysis of Form and Tonality 89 13. Lack's Sonate Pastorale, Op. 2.53. Analysis of Form and Tonality 104 14. Hure's Premiere Sonate. Analysis of Form and Tonality 118 ix Page 15. D'Indy's Sonate en mi, Op. 63. Analysis of Form and Tonality 133 16. Summary of Form in the Sonatas from 1900-1915 1^3 17. Summary of Tonal Organization in the Sonatas from 1900-1915 • • • 1^6 18. Frequencies of Intra-movement Key Relationships and Darkness/Brightness Relationships in the Sonatas from 1900-1915 1^9 19. Milhaud's Sonate. First Movement, Analysis of Form and Tonality 162 20. Milhaud's Sonate. Second Movement, Analysis of Form and Tonality 171 21. Milhaud's Sonate, Third Movement, Analysis of Form and Tonality I76 22. Breville's Sonate en re bemol. Analysis of Form and Tonality I87 23. Breville's Sonate en re bemol. Analysis of Form and Tonality I89 Zb, Casiniere's Sonate en si mineur. First Movement, Analysis of Form and Tonality ..... 200 25. .Casiniere's Sonate en si mineur, Second Movement, Analysis of Form and Tonality 205 26. Casiniere's Sonate en si mineur. Third Movement, Analysis of Form and Tonality ..... 209 27. Sauguet's Sonate en re ma.jeur. Analysis of Form and Tonality 221 28. Summary of Form in the Sonatas from 1916-1930 227 29. Summary of Tonal Organization in the Sonatas from 1916-1930 229 x Page 30. Frequencies of Intra-movement Key Relationships and Darkness/Brightness Relationships in the Sonatas from 1916-1930 232 31. Aubin's Sonate en si mineur. Analysis of Form and Tonality 239 32. Auric's Sonate en fa ma.ieur, First . Movement, Analysis of Form and Tonality 260 33. Auric's Sonate en fa ma.ieur, Second Movement, Analysis of Form and Tonality 262 34. Auric's Sonate en fa ma.ieur, Third Movement, Analysis of Form and Tonality 264 35. Au:ic's Sonate en fa ma.ieur, Fourth Movement, Analysis of Form and Tonality ..... 265 36. Bondeville's Sonate, .First Movement, Analysis of Form and Tonality 2?6 37. Bondeville's Sonate. Second and Third Movements, Analysis of Form and Tonality .... 279 38.
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