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A Contextual Study of Boris Asafiev's Musical Form As a Process and and Application of Concepts to His Sonata for Solo Viola

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A Contextual Study of Boris Asafiev's Musical Form As a Process and and Application of Concepts to His Sonata for Solo Viola Edith Cowan University Research Online Theses: Doctorates and Masters Theses 2015 A contextual study of Boris Asafiev's Musical form as a process and and application of concepts to his Sonata for solo viola Kathryn Fiona McKay Follow this and additional works at: https://ro.ecu.edu.au/theses Part of the Music Performance Commons Recommended Citation McKay, K. F. (2015). A contextual study of Boris Asafiev's Musical form as a process and and application of concepts to his Sonata for solo viola. https://ro.ecu.edu.au/theses/1738 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses/1738 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorise you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: • Copyright owners are entitled to take legal action against persons who infringe their copyright. • A reproduction of material that is protected by copyright may be a copyright infringement. • A court may impose penalties and award damages in relation to offences and infringements relating to copyright material. Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Use of Thesis This copy is the property of Edith Cowan University. However the literary rights of the author must also be respected. If any passage from this thesis is quoted or closely paraphrased in a paper or written work prepared by the user, the source of the passage must be acknowledged in the work. If the user desires to publish a paper or written work containing passages copied or closely paraphrased from this thesis, which passages would in total constitute and infringing copy for the purpose of the Copyright Act, he or she must first obtain the written permission of the author to do so. A Contextual Study of Boris Asafiev's Musical Form as a Process and an Application of Concepts to his Sonata for Solo Viola Kathryn McKay Western Australian Academy of Performing Arts Edith Cowan University This dissertation is submitted for the degree of Master of Arts (Performing Arts) 2015 i The declaration page is not included in this version of the thesis Abstract This dissertation examines the work of Russian composer, critic, and musicologist, Boris Vladimirovich Asafiev (1884-1949) against contemporaneous systems of cultural activity associated with Soviet communism. Over the course of his lifetime, Asafiev designed and developed a unique aesthetic-philosophical theory on the process of musical formation and perception. This study examines the political and ideological forces that contributed to the appearance of socialist realism, and places Asafiev within this context, evaluating his life and works. Central to this dissertation are two musicological volumes taken from Asafiev’s immense catalogue of works: Musical Form as a Process (1930), and Musical Form as a Process: Intonations (1947). The theories developed in these works are applied in an analysis and close reading of Asafiev’s Sonata for Solo Viola (1938). This study includes insights gleaned from a recital performance of Asafiev’s works (including the Sonata for Solo Viola). The recital—which took place on March 29th 2015—forms the creative/performance component of this research, and is attached as a DVD-Rom. iii Acknowledgements I wish to extend a sincere debt of gratitude to my supervisors, Dr Paul Hopwood and Dr Jonathan Paget, for their expert guidance—especially Dr Hopwood for his on-going guidance and his infectious enthusiasm for musicological study. Dr Paget has provided a wealth of academic expertise, and his patience and assistance at all times were greatly appreciated. Thank you also to Stewart Smith for his help with the analysis chapter and editing. To Tzvi Friedl, thank you for being such a superb viola teacher and mentor. To Anna Sleptsova, thank you for accompanying me in my recital, and also for performing the piano solo works so wonderfully. Thank you to Edith Cowan University music librarian Amanda Meyers for her skill and enthusiasm in finding works by Asafiev, regardless of the ever-frustrating language barrier. Sincere thanks also to Dr Kelly Botha for her encouragement and her bottomless pit of patience. Finally, thank you to my darling friends for putting up with me, and to my wonderful family for their understanding and support. iv Contents Copyright Declaration ....................................................................................................................................... ii Abstract ................................................................................................................................................................. iii Acknowledgements .......................................................................................................................................... iv Index of Figures ................................................................................................................................................ vii Introduction .......................................................................................................................................................... 1 1 Ideological and Political Context ....................................................................................................... 4 1.1 Karl Marx ............................................................................................................................................... 4 1.2 Lenin’s Russia (1917-1924) .......................................................................................................... 7 1.3 Lenin to Stalin (the Mid to Late 1920’s) ................................................................................... 9 1.4 The Resolution of 23 April 1932 ............................................................................................... 11 1.5 World War II ...................................................................................................................................... 16 1.6 Post-War Regimentation .............................................................................................................. 18 2 Asafiev, Boris Vladimirovich ............................................................................................................ 19 2.1 Early Years ......................................................................................................................................... 19 2.2 Academic Years ................................................................................................................................ 21 2.3 Role after 1932: Composition Years ....................................................................................... 23 2.4 The Siege of Leningrad (1941-1944) ..................................................................................... 25 2.5 Later Years ......................................................................................................................................... 25 3 Musical Form as a Process ................................................................................................................ 27 3.1 Musical Form as a Process ........................................................................................................... 27 3.2 Exposition of Underlying Principles ....................................................................................... 31 3.3 Principles of Identity or Repetition ......................................................................................... 34 3.4 Motive Forces, Energy & Impetus ............................................................................................ 37 3.5 Impetus and Close of Motion (Cadence) ............................................................................... 38 3.6 Development of Motion ................................................................................................................ 41 3.7 Principles of Identity and Contrast .......................................................................................... 44 3.7.1 Forms Based on the Principle of Identity ..................................................................... 45 3.7.2 Forms Based on the Principle of Contrast ................................................................... 46 3.8 Motoric Motion ................................................................................................................................. 48 4 Intonations ............................................................................................................................................... 51 4.1 Musical Form as a Process, Volume II: Intonations .......................................................... 51 4.2 Specific Intonational Elements .................................................................................................. 52 4.2.1 Intervals ...................................................................................................................................... 53 v 4.2.2 Tonalities .................................................................................................................................... 53 4.2.3 Rhythm .......................................................................................................................................
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