Abilene Christian University Digital Commons @ ACU Electronic Theses and Dissertations Electronic Theses and Dissertations Spring 5-2016 A Theory of Associations: An Explanation and Applications to Wagner's Das Rheingold Parker T. Gordon Abilene Christian University, [email protected] Follow this and additional works at: https://digitalcommons.acu.edu/etd Part of the German Literature Commons, Musicology Commons, and the Scandinavian Studies Commons Recommended Citation Gordon, Parker T., "A Theory of Associations: An Explanation and Applications to Wagner's Das Rheingold" (2016). Digital Commons @ ACU, Electronic Theses and Dissertations. Paper 28. This Thesis is brought to you for free and open access by the Electronic Theses and Dissertations at Digital Commons @ ACU. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ ACU. ABSTRACT This thesis posits an interdisciplinary theory of associations. Within inter- and intra-textual texts, there exists a presence that points toward an originating source, which audience members may or may not consciously recognize. This presence accumulates associations from surrounding materials through abstract and subtle references or through direct quotations. These associations, once examined in relation to one another in the context of the narrative, may help readers discover additional insights and uncover new information about a text. My theory draws upon literary scholarship primarily grounded in intertextual theory and adaptation theory. Inspired by the intertextual insertion of pre- existing music in film scores, my theory seeks to work in a variety of applications, across multiple fields of study. To that endeavor, I have selected Richard Wagner’s music drama Das Rheingold as the text I use to demonstrate and apply my theory. Concentrating upon one leitmotif, I focus my study on the associative relations present in connection to the action of forging. I also employ the study of several of Wagner’s source texts from the medieval Norse and Germanic sagas. Through this thesis, I explore both the inter- and intra-textual aspects of my theory in application as well as the interdisciplinary application to both a musical and a literary text. A Theory of Associations: An Explanation and Application to Wagner’s Das Rheingold A Thesis Presented to The Faculty of the Graduate School Abilene Christian University In Partial Fulfillment Of the Requirements for the Degree Master of Arts English By Parker Thomas Gordon May 2016 To my family, who supported me through years of piano and oboe lessons and never discouraged me from following my dreams—even when they involved such a crazy idea as graduate school. ACKNOWLEDGEMENTS First and foremost, I must acknowledge my professor, mentor, and friend Dr. Mikee Delony who has been right alongside me every step of the way, guiding me from a freshman paper on film music to this MA thesis on theory (and some music). I extend a special “thank you” for never once balking at a research proposition simply because it was not a mainstream literary topic. I remain eternally grateful for your encouragement in every endeavor and for teaching me the value of always asking, “So what?” I could not ask for a better role model. I must also thank my teachers and professors who, over so many years, fostered and cultivated a passion for music that makes me who I am today. A special acknowledgement goes out to the late Dr. Pauline Bjorem, who showed me the beauty, power, and grace in every line of music through her teaching and through her life. Rest in peace. Special thanks to Carolyn Thompson for taking such a vested interest in my growth as a student of German—Herzlichen Dank! Also, many thanks to Dr. Matt Roberson and Dr. Greg Straughn for taking the time to talk with me more in depth about Wagner, his life, and his music. The incredible Geoffrey Driggers helped prepare the music examples in Chapter IV and rightly deserves my thanks. TABLE OF CONTENTS I. INTRODUCTION: WAGNER’S RING AND ASSOCIATION THEORY .......... 1 Historical Context ................................................................................................... 1 Theoretical Approach.............................................................................................. 6 Literature Review.................................................................................................. 10 Russian Formalist Theory ......................................................................... 10 Semiotics Theory ...................................................................................... 15 Adaptation Theory .................................................................................... 20 Intertextuality Theory ............................................................................... 22 Primary Source Texts ................................................................................ 24 Libretto, Score, Recording, and Commentary .......................................... 27 Research Questions ............................................................................................... 28 Thesis Chapter Outline ......................................................................................... 29 Chapter I: Introduction: Wagner’s Ring and Association Theory ............ 29 Chapter II: Finding the Right Words: An Interdisciplinary Glossary....... 30 Chapter III: The Continuing Presence: Associative Theory ..................... 30 Chapter IV: A Trial by Fire: Associative Theory and the Forge Leitmotif ................................................................................................... 31 Chapter V: “All That Is, Ends”: Conclusion ............................................. 31 II. FINDING THE RIGHT WORDS: AN INTERDISCIPLINARY GLOSSARY .. 33 Common Terms Used and Understood in Both Literary and Music Criticisms ... 37 Interdisciplinary Approaches to Intertextuality .................................................... 42 Literary Terms Used and Understood in Musical Contexts .................................. 47 Musical Terms Used and Understood in a Literary Context ................................ 53 III. THE CONTINUING PRESENCE: ASSOCIATIVE THEORY .......................... 60 IV. A TRIAL BY FIRE: ASSOCIATIVE THEORY AND THE FORGE LEITMOTIF ......................................................................................................... 79 Application to the Ring’s Libretti as Poetry ......................................................... 82 Application to the Ring as Music Drama .............................................................. 88 Motifs of the Forge Leitmotif ................................................................... 92 Embryonic Form ....................................................................................... 95 Definitive Form ......................................................................................... 97 Associative Significance of the Forge Scene ...................................................... 101 Continued, Varied, and Developed Forms .............................................. 103 Application to the Ring’s Sagas as Sources ............................................ 106 V. “ALL THAT IS, ENDS”: CONCLUSION ......................................................... 115 WORKS CITED ................................................................................................. 119 ii LIST OF EXAMPLES 1. Wotan’s Spear ................................................................................................................84 2. The River Rhein .............................................................................................................86 3. The Rhein Gold ..............................................................................................................86 4. The Ring.........................................................................................................................87 5. The Forge Leitmotif .......................................................................................................91 6. Example of Dotted-Rhythm Pattern...............................................................................92 7. Example of Three-Note Melodic Pattern .......................................................................92 8. Rheinmaidens’ Joy in the Gold ......................................................................................93 9. The Walküre ...................................................................................................................93 10. Siegfried’s Horn Call ...................................................................................................93 11. Forge Leitmotif—Sequence .........................................................................................94 12. Forge Leitmotif—Inversion .........................................................................................94 13. Forge Leitmotif—Extension ........................................................................................94 14. Forge Leitmotif—Inverted Extension ..........................................................................94 15. Forge Leitmotif—Embryonic Form .............................................................................96 16. Freia’s Leitmotif—First Segment ...............................................................................96 17. The Rhein Gold—Major to Minor ...............................................................................96