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Toward a Theory of Formal Function in Stravinsky’S Neoclassical Keyboard Works

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Toward a Theory of Formal Function in Stravinsky’S Neoclassical Keyboard Works Toward a Theory of Formal Function in Stravinsky’s Neoclassical Keyboard Works Item Type text; Electronic Dissertation Authors Mueller, Peter M. Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 07/10/2021 03:29:55 Link to Item http://hdl.handle.net/10150/626657 TOWARD A THEORY OF FORMAL FUNCTION IN STRAVINSKY’S NEOCLASSICAL KEYBOARD WORKS by Peter M. Mueller __________________________ Copyright © Peter M. Mueller 2017 A Dissertation Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY In the Graduate College THE UNIVERSITY OF ARIZONA 2017 3 STATEMENT BY AUTHOR This dissertation has been submitted in partial fulfillment of the requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this dissertation are allowable without special permission, provided that an accurate acknowledgement of the source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his or her judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author. SIGNED: Peter M. Mueller 4 ACKNOWLEDGMENTS There are many people who helped me with this project. I wish to thank my committee members for their unique contributions. My adviser, Don Traut, kept me focused on formal investigation, equipping me with various analytical techniques and pertinent articles by theorists familiar with Stravinsky’s oeuvre. Boyd Pomeroy introduced me to the techniques of Caplinian and Schenkerian analysis, demanding attention to detail and thorough study. Jay Rosenblatt provided countless hours of honing the entire process from thesis statement to final document, adding resources and guidance along the way. I would also like to thank the students and faculty of the Fred Fox School of Music at the University of Arizona for their collegial spirit and resourceful support. Students shared peer reviews and faculty provided a healthy environment for exchange of ideas. During my coursework, I was fortunate to participate in a week of performances and lectures about Stravinsky in celebration of the 100th year after the premiere of his Rite of Spring. None of this would be possible without the tireless support of my wife, Luan, who provided support through these last seven years. Her encouragement kept me going, enabling me to present lectures about Stravinsky’s use of formal functions at several conferences of the Society of Music Theory. Finally, I thank God for providing all these people in my life. 5 TABLE OF CONTENTS LIST OF FIGURES .........................................................................................................................6 LIST OF TABLES ...........................................................................................................................9 ABSTRACT ...................................................................................................................................10 CHAPTER 1: BACKGROUND ....................................................................................................11 CHAPTER 2: ENDINGS ...............................................................................................................19 2.1: AUTHENTIC ENDING ......................................................................................................23 2.2: CONTRAPUNTAL ENDING ............................................................................................25 2.3: QUIESCENT ENDING ......................................................................................................32 2.4: ANCHORED ENDING ......................................................................................................36 CHAPTER 3: THEME-TYPES .....................................................................................................42 3.1: SENTENCE ........................................................................................................................42 3.2: PERIOD ..............................................................................................................................52 3.3: HYBRID .............................................................................................................................60 3.4: SMALL TERNARY ...........................................................................................................64 CHAPTER 4: LOOSENING AGENTS.........................................................................................80 4.1: INTERPOLATIONS ...........................................................................................................82 4.2: EXTENSIONS ....................................................................................................................91 CHAPTER 5: FULL-MOVEMENT TYPES...............................................................................100 5.1: LARGE TERNARY ..........................................................................................................102 5.2: FIVE-PART RONDO .......................................................................................................110 5.3: SONATA ...........................................................................................................................123 CHAPTER 6: CONCLUSIONS ..................................................................................................142 BIBLIOGRAPHY ........................................................................................................................148 6 LIST OF FIGURES 1.1. Somer’s reduction of Debussy’s Sonata for Flute, Viola, and Harp .......................................16 1.2. Surface of Debussy excerpt from preceding figure (score reduction) ...................................16 1.3. Cone’s analysis of the “Hymne” from Stravinsky’s Sérénade en La. ....................................17 2.1. Authentic cadences from the Sonate, movement 1 .................................................................24 2.2a. Outward contrary motion in the “Rondoletto” from the Sérénade. ......................................27 2.2b. Rebarring of mm. 35–37 .......................................................................................................27 2.3. Inward contrary motion in the “Cadenza Finala” from the Sérénade .....................................28 2.4. Combination of authentic cadence with inward contrary motion, from the second movement of the Sonate ..................................................................................................................................30 2.5. Ending with falling contour from the first movement of the Sonate ......................................30 2.6. Quiescent ending from the “Rondoletto” movement of the Sérénade ....................................34 2.7. Anchored ending from the Sonate, third movement ...............................................................37 2.8. Anchored ending from the “Rondoletto” movement of the Sérénade ....................................39 2.9. Anchored ending from the first movement of the Concerto ...................................................41 3.1a. Caplin’s diagram of the standard sentence ............................................................................46 3.1b. Sentence from the third movement of the Sonate .................................................................46 3.2. Sentence from the first movement of the Sonate ...................................................................48 3.3. Sentence from the first movement of the Concerto (piano part with orchestral reduction) ...49 3.4. Sentence from the third movement of the Sonate ...................................................................51 3.5a. Normative period from the “Romanza” of the Sérénade ......................................................55 3.5b. Reduction of outer voices in mm. 22–29 of the “Romanza” ................................................55 3.6. Sequential treatment of Mozartian theme from the third movement of the Sonate ................57 3.7. Period from the Concerto (orchestral reduction) ....................................................................59 3.8. Caplin’s “Relation of the hybrids to the sentence and the period” .........................................62 3.9. Hybrid type 3 from the first movement of the Sonate ............................................................62 3.10. Hybrid 3 theme-type from the “Romanza” of the Sérénade .................................................65 3.11. Opening of the third movement of the Sonate ......................................................................67 3.12. Recapitulation of small ternary from the Sonate ..................................................................69 3.13. Orchestral reduction of the opening of the first movement of the Concerto ........................71 7 3.14. Small ternary at the opening of the “Hymne”
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