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Formal Functions in the Music of Arnold Schoenberg

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Formal Functions in the Music of Arnold Schoenberg FORMAL FUNCTIONS IN THE MUSIC OF ARNOLD SCHOENBERG by ANDREW C. EASON A DISSERTATION Presented to the School of Music and Dance and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy September 2019 DISSERTATION APPROVAL PAGE Student: Andrew C. Eason Title: Formal Functions in the Music of Arnold Schoenberg This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the School of Music and Dance by: Jack Boss Chairperson Drew Nobile Core Member Stephen Rodgers Core Member Jeffrey Librett Institutional Representative and Janet Woodruff-Borden Vice Provost and Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded September 2019 ii © 2019 Andrew C. Eason This work is licensed under a Creative Commons Attribution-NoDerivs (United States) License. iii DISSERTATION ABSTRACT Andrew C. Eason Doctor of Philosophy School of Music and Dance September 2019 Title: Formal Functions in the Music of Arnold Schoenberg Musical form has undergone a significant revival in the past twenty years, largely due to Caplin’s Classical Form. However, most of this attention has focused on tonal forms in the Classical and Romantic eras. This project establishes a form-functional approach for analyzing the music of Arnold Schoenberg. Drawing on Schoenberg’s own theoretical writings throughout his career, I show how his concept of form can be applied to without relying on the traditional harmonic signs. This project expands form-functional analysis into the 20th century while finding its roots in Schoenberg’s thought. I begin by climbing up the formal hierarchy, beginning with smaller formal units and combining them into larger sections and movements. I do this by identifying prototypical functions in Schoenberg’s tonal sextet Verklärte Nacht Op. 4 and the twelve-tone Suite for Piano Op. 25. From there, I show how themes can be combined into ternary movements and larger sonata forms using Op. 25 as well as the Klavierstück Op. 33b. Chapter 6 examines the Third String Quartet Op. 30, which shows how Schoenberg expands the prototypical forms into much larger pieces. Chapter 7 demonstrates the analytical technique with the first two movements of Op. 11, showing how less typical forms still convey temporality and formal functions. iv CURRICULUM VITAE NAME OF AUTHOR: Andrew C. Eason GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED: University of Oregon, Eugene Texas Tech University, Lubbock DEGREES AWARDED: Doctor of Philosophy, Music Theory, 2019, University of Oregon Master of Music, Music Theory, 2014, Texas Tech University Bachelor of Music, Performance, 2012, Texas Tech University AREAS OF SPECIAL INTEREST: Twentieth Century Music Musical Form PROFESSIONAL EXPERIENCE: Graduate Employee, 2017–2019 Graduate Teaching Fellow, 2015–2017 Graduate Teaching Assistant, 2012–2014 GRANTS, AWARDS, AND HONORS: Outstanding Graduate Scholar in Music Theory, University of Oregon, 2019 v ACKNOWLEDGMENTS I wish to thank Professor Boss for the constant support and assistance in the preparation of this manuscript. Special thanks are also due to Professor Nobile for his essential feedback and Professor Grose for sharing such sensitive musicianship. I must also thank Grace Ho. Without her tireless effort, nobody would graduate on time. vi To Laura. This wouldn't have been possible without you. vii TABLE OF CONTENTS Chapter Page I. INTRODUCTION .................................................................................................... 1 Methodology .......................................................................................................... 8 II. TRADITIONAL FORMS AND VERKLÄRTE NACHT ......................................... 21 The Sentence .......................................................................................................... 22 The Period .............................................................................................................. 35 Small Ternary......................................................................................................... 40 Core Technique ...................................................................................................... 49 Concluding Remarks .............................................................................................. 55 III. ENERGETICS AND OP. 25 ................................................................................. 58 The Op. 25 Suite .................................................................................................... 70 The Cadences ......................................................................................................... 80 IV. INTER-THEMATIC FORMAL FUNCTIONS AND TERNARY FORMS IN OP. 25 .................................................................................................................... 94 Op. 25 Analyses ..................................................................................................... 102 V. SONATA FORM AND OP. 33B ............................................................................ 111 Exposition .............................................................................................................. 111 Development .......................................................................................................... 124 Recapitulation ........................................................................................................ 131 Concluding Remarks .............................................................................................. 136 VI. OP. 30, SONATA FORM AND RONDO FORM ................................................ 139 The First Movement ............................................................................................... 139 viii Chapter Page The Fourth Movement ........................................................................................... 159 VII. OP. 11 NOS. 1 AND 2 ......................................................................................... 181 Op. 11 No. 2 ........................................................................................................... 201 VIII. CONCLUSION ................................................................................................... 217 REFERENCES CITED ................................................................................................ 225 ix LIST OF EXAMPLES Example Page 2.1 Schoenberg Op. 4, mm. 13–21............................................................................... 29 2.2 Schoenberg Op. 4, mm. 34–45............................................................................... 33 2.3 Schoenberg Op. 4, mm. 50–62............................................................................... 39 2.4 Schoenberg Op. 4, mm. 50–74............................................................................... 45 2.5 Schoenberg Op. 4, mm. 74–104............................................................................. 52 3.1 Bruckner Sixth Symphony, mm. 1–19a ................................................................. 66 3.2 Schoenberg Op. 25 Minuet, mm. 1–8 .................................................................... 71 3.3 Reduction of mm. 1–4, Minuet .............................................................................. 71 3.4 Schoenberg Op. 25 Musette, mm. 20–24 ............................................................... 75 3.5 Schoenberg Op. 25 Musette, mm. 1–9 ................................................................... 78 3.6 Schoenberg Op. 25 Minuet, mm. 1–11 .................................................................. 86 3.7 Schoenberg Op. 25 Musette, mm. 1–9 ................................................................... 88 3.8 A complete statement of P4 crossing the caesura in m. 5 ...................................... 89 3.9 Schoenberg Op. 25 Musette, mm. 20–31 ............................................................... 90 4.1 Schoenberg Op. 25 Minuet contrasting middle, mm. 12–16 ................................. 103 4.2 Schoenberg Op. 25 Minuet recapitulation, mm. 17–33 ......................................... 105 4.3 Schoenberg Op. 25 Musette contrasting middle, mm. 9b–20a .............................. 107 4.4 Schoenberg Op. 25 Musette recapitulation, mm. 20b–31 ...................................... 109 5.1 Schoenberg Op. 33b, Exposition Main Theme and Interpolation, mm. 1–9 ......... 117 5.2 Schoenberg Op. 33b, Exposition Transition, mm. 12–20 ...................................... 119 5.3 Schoenberg Op. 33b, Exposition Subordinate Theme, mm. 21–28a ..................... 121 x Example Page 5.4 Schoenberg Op. 33b, Exposition Closing Section, mm. 28b–31 ........................... 124 5.5 Schoenberg Op. 33b, Developmental Core, mm. 32–51 ....................................... 129 5.6 Schoenberg Op. 33b, Recapitulation Subordinate Theme, mm. 52–56 ................. 134 5.7 Schoenberg Op. 33b, Recapitulation Main Theme/Closing Theme, mm. 57–68 .. 135 6.1 Form Chart of the Entire Movement, Op. 30, i ...................................................... 141 6.2 Schoenberg Op. 30, i, Main Theme, mm. 1–42 ..................................................... 142 6.3 Schoenberg Op. 30, i, Subordinate Theme, mm. 62–94 ........................................ 148 6.4 Schoenberg Op. 30, i, Recapitulation Main Theme, mm. 235–277 ......................
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