Music as “Minor Literature”: Musical Syntax and Form in Gustav Mahler’s Lied von der Erde by Dan Deutsch A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Faculty of Music University of Toronto © Copyright by Dan Deutsch, 2018 Music as “Minor Literature”: Syntax and Form in Gustav Mahler’s Lied von der Erde Dan Deutsch Doctor of Philosophy Faculty of Music University of Toronto 2018 Abstract In combining music theory and cultural studies, my dissertation explores the ways in which Gustav Mahler’s affiliation with a Jewish minority can be read into his musical work at the level of the musical structure. To this end, I devise a theoretical framework that combines Gilles Deleuze and Félix Guattari’s theory of Minor Literature with current theories of musical form, and conduct a close reading of Das Lied von der Erde. As minor literature, Mahler’s work manifests the approach of a minority group that deploys the conventional language of the majority—major language—in unique and unconventional manners. In transposing this conceptual framework to a musical realm, I identify the historical construct of a German musical heritage as the major language, whose conventional behavior is elucidated by various Formenlehre approaches, especially by William Caplin’s theory of formal functions. I conduct formal analyses that reveal Mahler’s relation to the idioms of German music, and demonstrate how these idioms are transformed, undermined, and “deterritorialized.” Of all of Mahler’s symphonic works, Das Lied von der Erde is one of the most suitable for the conceptual framework of minor literature. In its generic behavior and formal layout, it ii reveals a highly ambiguous approach toward the distinctively German genre of the symphony. Through the lens of minor literature, my research reveals how this generic ambiguity is symptomatic of a much deeper tension, a tension that exists at the core of musical expression, within the musical language itself. My dissertation endeavors to identify the traces of Mahler’s socio-historical situation in the musical structures themselves and by doing so contributes to ongoing discussions in several fields. As an analytical work in music theory, it addresses an issue that is rarely considered in Mahler literature, namely the examination of musical syntax and rhetoric at the technical level of thematic, melodic, and harmonic structures. Likewise, by construing Mahler’s music as an embodiment of the dialectical existence of minorities—living as foreigners in their own land—this study approaches a familiar and relevant topic in Jewish and modern thought in an unfamiliar manner that is no less relevant. iii Acknowledgments Writing this dissertation has been a long journey, and I have so many people to thank for their guidance, companionship, help, and support. First and foremost, I would like to thank my family. To Tal, my dear wife, who was willing to take a break from her life in Israel and move to Toronto for the sake of my PhD, who encouraged and believed in me, and who stood by my side throughout this entire process. I also like to thank Ben, my three-years-old son. Although he is younger than some of the passages in this dissertation, in the last few years Ben has become a central part of everything I do, including my PhD (especially at the moments when he takes my laptop since he “wants to do a doctorate tooooo…”). Lastly, I want to express my gratitude to my parents and my brother, who supported me in any way possible, and have always encouraged me to pursue my dreams and ambitions. There are so many people I would like to thank within the University of Toronto. I am grateful to the members and staff at the Anne Tanenbaum Centre for Jewish Studies. I never thought I would have anything to do with Jewish Studies, but ultimately, my participation in the Centre’s Granovsky-Gluskin Graduate Collaborative Programs in Jewish Studies had a huge impact on my research, and I formed a personal attachment to the Centre, whose members always made me feel welcome and cared for (academically and personally). I am also grateful for the people at my home department, the Music Theory Area at the Faculty of Music. First, for accepting me to the PhD program, and second, for providing me with unwavering support throughout the process of this dissertation. They made me feel that my success is theirs too, something that one should never take for granted. Moving to a more personal level, I want to thank the members of my dissertation committee, Prof. Sherry Lee, Prof. Anna Shternshis, Prof. Ryan McClelland, and my supervisor, Prof. Steven Vande Moortele. Prof. Lee’s aid, feedback, and remarks have been invaluable for my dissertation. In her vigilance, acute attention to details, and sharp observations, she constantly challenged me and my modes of thinking and helped me hone my arguments and deepen my analysis. I am lucky to have had her in my committee. I am also highly fortunate that Prof. Anna Shternshis, the director of the Anne Tanenbaum Centre for Jewish Studies, was willing to participate in my dissertation committee. Prof. Shternshis counterbalanced the more music-oriented background of the rest of the committee members, she asked questions that iv needed to be asked, brought very different perspectives on things that passed unnoticed by me, and gave me with priceless moral support. I am deeply indebted to Prof. Ryan McClelland, not only for his participation in my committee, but also for guiding me, helping me, and accompanying throughout my graduate studies. In his feedback, Prof. McClelland exhibits a unique mixture of uncompromising criticism, which leaves no stone unturned, and a practical approach that seeks the value and the relevance of every argument, even if it is problematic and inaccurate. Through his constructive approach and careful attention to details, Prof. McClelland progressed my research, provided me with crucial insights, and improved my writing. Finally, I wish to express my deepest gratitude to Prof. Steven Vande Moortele, my advisor, mentor, and I daresay, my friend. In the last few years, Prof. Vande Moortele has read, commented, and re-read the various chapters of my dissertation, abstracts and papers for conferences and publications, grant applications, and more. He made time to meet me regularly (in person while I was in Toronto and via Skype after I left) and discuss not only my ideas, analyses, plans for the future, but also about our common fondness of French popular music, raising kids, and much more. I will not attempt to describe the ways in which Prof. Vande Moortele inspired, improved, and assisted my work as a scholar, since it is impossible to do so in a few words. What I will do is extend a heartfelt thank-you to Steven for his time, efforts, insights, criticism, caring, honesty, and most importantly, friendship. For this, I am forever grateful to him. v Table of Contents Abstract .................................................................................................................................. ii Acknowledgments................................................................................................................. iv Table of Contents .................................................................................................................. vi List of Tables ......................................................................................................................... x List of Examples ................................................................................................................... xi List of Appendices .............................................................................................................. xiii INTRODUCTION................................................................................................................ 1 Reading Mahler through the German Musical Tradition .................................................. 4 Overview of the Dissertation ............................................................................................ 8 CHAPTER 1: TOWARD A MINOR READING OF DAS LIED VON DER ERDE ... 11 1.1 Introduction .............................................................................................................. 11 1.2 Minor Literature as an Interpretive Framework ....................................................... 14 1.3 Mahler as a Minor Author........................................................................................ 20 1.4 Das Lied von der Erde as a Minor Work ................................................................. 24 1.5 Mahler’s Musical Accent ......................................................................................... 29 1.6 Conclusion: Minority and Jewishness ..................................................................... 32 CHAPTER 2: FORMAL FUNCTIONS IN DAS LIED VON DER ERDE ................... 35 2.1 Introduction .............................................................................................................. 35 2.2 Form-Defining Categories in Mahler’s Music ......................................................... 37 2.3 The Problem of Theorizing Mahler’s Music ........................................................... 41 vi 2.4 Reading for Formal Functions in Das Lied von der Erde ........................................ 45 2.4.1 Premise A: Temporality ................................................................................... 45 2.4.2 Premise B: Types