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Information to Users INFORMATION TO USERS This manuscript has been reproduced from the microfihn 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 afreet 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. Each original is also photographed in one exposure and is included in reduced form at the back of the book. 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. UMI University Microfilms International A Bell & Howell Information Company 3 0 0 North Z eeb Road. Ann Arbor. Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 9401386 Enharmonicism in theory and practice in 18 th-century music Telesco, Paula Jean, Ph.D. The Ohio State University, 1993 Copyright ©1993 by Telesco, Paula Jean. All rights reserved. UMI 300 N. Zeeb Rd. Ann Arbor, MI 48106 ENHARMONICISM IN THEORY AND PRACTICE IN 18TH-CENTURY MUSIC DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Paula Jean Telesco, B.A., M.M. « « » X « The Ohio State University 1993 Dissertation Committee: Approved by Gregory Proctor Burdette Green Lora Gingerich Adviser Department of Music COPYRIGHT BY P aula Jean Telesco 1993 To M Y PARENTS 11 ACKNOWLEDGMENTS I would like to express my gratitude to the music theory faculty of The Ohio State University for the excellent training I received during the course of my doctoral studies. I also wish to express my thanks to my adviser, Dr. Gregory Proctor, for all his efforts on my behalf, but particularly for his enthusiasm and interest in this project, and for his help in reading through many 18th-century French and German theoretical treatises. I would also like to thank the other members of my dissertation committee. Dr. Burdette Green and Dr. Lora Gingerich, for their careful reading of this document and their helpful suggestions. Finally, I would like to thank my family and my friend. Robert Mueller, for their unflagging support and encouragement. 111 VITA October 3. 1956 .............................................. Born - Buffalo, New York 1978 .................................................................. B.A.. S.U.N.Y. College at Buffalo, New York 1985 .................................................................. M.M., University of Arizona Tucson, Arizona 1989-90 ............................................................ Assistant Professor of Music Wayne State University Detroit, Michigan 1990-Presen t .................................................... Assistant Professor of Music Butler University Indianapolis, Indiana PUBLICATIONS "Contextual Ear Training," Journal of Music Theory Pedagogy 5/2 (Fall 1991): 179-90. FIELDS OF STUDY Major Field: Music Music Theory Minor Field: Musicology 1v TABLE OF CONTENTS ACKNOWLEDGMENTS...............................................................................................iii VITA........................................................................................................................... iv LIST OF TABLES.........................................................................................................vii LIST OF FIGURES........................................................................................................viii CHAPTER I. INTRODUCTION..................................................................................................1 II. CLASSICAL DIATONIC TONALITY............................................................... 12 Diatonicism..................................................................................................12 Chromaticism ..............................................................................................21 III. THE GENERATION OF ENHARMONICISM.................................................... 28 The Half-Step Phenomenon ................................................................... 28 Key Contexts Affecting the Reinterpretation of a as a Gr^, or the Reverse ...................................................................................... 47 Reinterpretation of the Diminished Seventh Chord ..........................60 Reinterpretation of the Augmented Triad ..........................................66 IV. CATEGORIES OF ENHARMONICISM............................................................. 73 Simultaneous, or Temporally Juxtaposed Enharmony .................... 77 Explicit Enharmony ........................................................................77 Plausible Enharmony.....................................................................106 Retrospective Enharmony........................................................................127 The "Pythagorean Horn " Phenomenon ......................................127 The Simultaneous/Retrospective Enharmony Hybrid 142 Double Enharmonicism....................................................... 146 Retrospective Sequences.............................................................. 151 V. PASSACAGLIAS AND THE OMNIBUS PROGRESSION....................................... 176 SUMMARY.......................................................................................................... 224 APPENDIX Increasingly Distant Relationships of Keys Containing Enharmonically Equivalent vii®’ Chords .............................................. 227 BIBLIOGRAPHY..................................................................................................229 v1 LIST OF TABLES Tables 1. Gr^ in Major Key Environments................................................................ 43 2. Relationship of Keys in Modulations Involving Enharmonically Equivalent V^s and Gr^s.............................................................................48 3. Keys to which a Fully-Diminished Seventh Chord can Resolve, Functioning Either as a vii®^ or a vii®’/V ................................................. 62 4. Relationships of the Eight Keys to which a vii°^ of a Major or Minor Tonic can Resolve Directly.......................................................................... 65 5. Keys to which a III+ or V+ can Resolve .....................................................66 6. Comparison of Key Relationships when the Keys of Enharmonically Equivalent V^s and Gr^s are Spelled with the Same Letter Names (a), and with Different Letter Names (b) .................................................. 148 7. Compositions utilizing the Passacaglia Bassline........................................178 v11 LIST OF FIGURES FIGURES 1.1. Schubert: Plano Sonata in D major, Op. 53-III, Trio, mm. 9- 18 ...........................................................................................................7 1.2. fI major Chord Respelled as Chromatic Neighbor to D major Chord ......................................................................................................8 2.1. Mozart: Piano Sonata in fil» major, K. 333-1. mm. 75-81................. 14 2.2. Mozart: Piano Concerto No. 21 in C major, K. 467-1, mm. 59-61 .............................................................................................15 2.3. Mozart: String Quintet in G minor. K. 516-1. mm. 90-94 .................17 2.4. Mozart: String Quartet in G major. K. 387-III. mm. 63-70 .............20 2.5. Neapolitan Sixth Chords ...................................................................... 23 2.6. Augmented Sixth Chords .....................................................................25 2.7. (a) Mozart: Piano Sonata in D major, K. 284-III. Variation VII. mm. 2-4: (b) Haydn: String Quartet in D major. Op. 76, No. 5-1. mm. 25-28 ............................................................................................ 26 2.8. Non-Dialonic Progression .................................................................... 27 3.1. Simple Tonicization ..............................................................................30 3.2. Enharmonic Modulation ...................................................................... 31 3.3. Neapolitan with Back-Relating Dominant ..........................................36 3.4. Gr^^V^ with Suppressed Resolution ................................................. 36 3.5. Gr^->V with Explicit Resolution ..........................................................37 3.6. Mozart: Piano Sonata in D major, K. 284-1, mm. 16-17 .................. 38 viii 3.7. (a) Mozart; Piano Sonata in D major, K. 284-11, mm. 51-52; (b) Piano Sonata in major, K. 333-1, mm. 82-83 .........................40 3.8. Comparison of Neapolitan with Back-Relating Dominant to Gr^-i* Progression
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