Meter and Phrasing as Performance Theory Thomas Ingram Department of Music Research, Music Theory Area Schulich School of Music, McGill University, Montreal A thesis submitted to McGill University in partial fulfilment of the requirements of the degree of Master of Arts, Music Theory, August 2019. Copyright 2019, Thomas Ingram. Table of contents Abstract ................................................................................................................................... iii Résumé .................................................................................................................................... iv Acknowledgements .................................................................................................................. vi Preface .................................................................................................................................... vii Chapter 1. The idea of performance theory............................................................................ 1 The ontological objection ....................................................................................................... 3 The disciplinary objection ..................................................................................................... 6 The aural image as a mediating term .................................................................................13 Chapter 2. Performed meter and the accent theory .............................................................17 Ontological preface ...............................................................................................................18 Speculative theorists: Locating the accent ..........................................................................20 Performance theorists: Rendering the accent .....................................................................29 Performed meter in the early nineteenth century ..............................................................38 A theory of phrasing? ...........................................................................................................42 Chapter 3. The continuous dynamics of Riemann’s phrasing theory ...................................47 Instructions to performers: Riemann’s phrasing edition ....................................................49 A theoretical outlook: Musikalische Dynamik und Agogik .................................................54 Meter and dynamic shading in the Beethoven sonatas ......................................................60 Displacement of the downbeat .........................................................................................61 Negation of the downbeat .................................................................................................70 Subsidiary metrical accents and the legitimacy of quadruple time ................................78 Performed stress at the beginnings of motives ................................................................85 A theory of meter without meter? ........................................................................................88 Chapter 4. Phrasing Theory and the Aural Image Today ....................................................91 i McGill and the number system ...........................................................................................93 Phrases that begin ............................................................................................................. 105 Perceptual and ethical imperatives ................................................................................... 114 Bibliography .......................................................................................................................... 125 Primary Sources ................................................................................................................. 125 Secondary Sources (selected) ............................................................................................. 127 Editions of Musical Scores ................................................................................................. 132 ii Abstract This thesis presents a revised way for music theorists to conceive of musical performance through the lens of pedagogical writings by prominent performers from history and the present day. In Chapter 1, I outline my theoretical approach by way of responding to influential critiques of analysis and performance (Cook 1999, 2013; Rink 1990, 2002). In Chapter 2, I examine instrumental treatises by prominent German musicians of the late eighteenth century, constructing a rudimentary “phrasing theory” on the basis of their approach to meter. Chapter 3 considers Hugo Riemann’s treatment of phrasing in his early attempts at creating a theory of meter (Riemann 1884) and his attempts to reform musical notation through a “phrasing edition” of the Beethoven piano sonatas. Chapter 4 investigates two modern contributions to “phrasing theory” by prominent woodwind players (Pay 1996; McGill, 2007) that could be understood as successors to the approaches considered in Chapters 2 and 3. iii Résumé Cette thèse présente une façon révisé pour les théoriciens de la musique à concevoir à l’interprétation, telle que perçu à travers des œuvres pédagogiques par les interprètes connus d’histoire et d’aujourd’hui. Dans le premier chapitre, j’expose les grands lignes de mon approche théorique, par répondre aux critiques influents d’analyse et performance (Cook 1999, 2013; Rink 1990, 2002). Dans le deuxième chapitre, j’examine quelques traités instrumental par des musiciens connu d’Allemagne du fin du 18e siècle, construisant une « théorie du phrasé » rudimentaire sur la base de leurs approches au mètre. Le troisième chapitre prend en considération le traitement du phrasé par Hugo Riemann, et ses première théorie du mètre (Riemann 1884) et ses tentatives de réformer la notation musicale par ses “éditions phrasées” des sonates de piano de Beethoven. Le quatrième chapitre examine deux contributions modernes à la « théorie du phrasé » par des specialists connus des instruments à vent (Pay 1996; McGill, 2007) qui pourrait être compris comme des successeurs aux approches examinés dans les deuxièmes et troisièmes chapitres. iv In case he who should act were to judge himself according to the result, he would never get to the point of beginning. Even though the result may give joy to the whole world, it cannot help the hero, for he would get to know the result only when the whole thing was over, and it was not by this he became a hero, but he was such for the fact that he began. —Kierkegaard1 1 Søren Kierkegaard, Fear and Trembling, in Fear and Trembling and The Sickness Unto Death, trans. Walter Lowrie (Princeton University Press, 1968), 73–74. v Acknowledgements I would like to thank my adviser, Dr. Edward Klorman, for his guidance and encouragement throughout my studies and the process of writing this thesis. His unwavering faith in me has provided inspiration and a constant impetus to do the best work I possibly can. I have received valuable advice and support at various stages of my studies from Charles Horton, David Byrne, James Maiello, and Kurt Markstrom. My thoughts on analysis and performance evolved significantly during a seminar at McGill with Janet Schmalfeldt, and I am indebted to her for her enthusiasm, insights, and thorough knowledge of the repertoire. William Rothstein fielded some bibliographical questions by email, providing useful information and food for thought regarding the interpretation of Schenker and Riemann. Chapters 2 and 3 of this thesis are very much indebted to William Caplin, from whose writings and seminars I have learned a tremendous amount. In addition, conversations and arguments with my colleagues at McGill have helped to clarify my thoughts on a number of issues. These are too numerous to cite specifically, but I would particularly like to acknowledge Tobias Tschiedl, Laurence Willis, Monika Zaborowski, and Reid Isaak. Research toward this thesis was partially funded by a grant from the Social Sciences and Humanities Research Council of Canada. The music library staff at McGill University and the University of Manitoba consistently went above and beyond in fulfilling my numerous requests, some of them quite unusual. It is hard to imagine completing this project without their invaluable assistance. Many thanks to my roommate Brielle Dorais-Fleming for the French translation of my abstract. On a personal note, I would like to thank my family for their constant support of my studies, and my partner, Caitlyn Maskiew, who loves me despite my noxious habits and bad opinions. I humbly dedicate this thesis to Naoum Gomon, my “father in music.” vi Preface This thesis makes reference to many authors using the problematic term “phrase” as both a noun and a verb. In a recent article, Janet Schmalfeldt writes that “it might be incumbent on all of us, when we write about music or perform it, to ask ourselves: What is the context in which ‘phrase’ means something to me? How shall I adopt this term?”1 I agree, but I would add the caveat that readers of texts about music should ask the same questions. The word “phrase” signifies enough things to enough people that it is not safe to assume much about its meaning unless the author explicitly defines it. “Phrase” as a verb and “phrasing” as a gerund are not attested before the late nineteenth century.2 The concept—in its modern sense—cannot have been much older than that. And yet