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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. ProQuest Information and team ing 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 ____ ® UMI NOTE TO USERS This reproduction is the best copy availabie. UMI THE UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE TEXTURE AND PEDALING IN SELECTED NOCTURNES OF FRÉDÉRIC CHOPIN A Document SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment o f the requirements for the degree o f Doctor of Musical Arts By Lisa J. 2[dechlik Norman, Oklahoma 2001 UMI Number; 3029625 Copyright 2001 by Zdechlik, Lisa Jean Ail rights reserved. UMI UMI Microform 3029625 Copyright 2002 by Bell & Howell Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. Bell & Howell Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor. Ml 48106-1346 TEXTURE AND PEDALING IN SELECTED NOCTURNES OF FRÉDÉRIC CHOPIN A Document APPROVED FOR THE SCHOOL OF MUSIC BY by Lisa J. Zdechlik 2001 All Rights Reserved ACKNOWLEDGEMENTS Many people have contributed to the textural-fabric of my life and supported me in bringing this project to completion. I wish to thank the members of my committee for their enthusiasm for the topic and their patience. I am especially grateful to my advisors—to Dr. Jane Magrath for her unlimited support, guidance, and expertise and to Dr. Michael Rogers for his belief in this project and his rich insights into music and analysis. A profound thank you to all the members o f my family who have kept me in tune with who I am and gently encouraged me throughout this journey: to my brother Joel whose sheer tenacity and passion for exploring new territory sustained me from my first hand drawn graphs through the final graphs of this study; to my sister Kris who has rallied for me through the whole of my musical studies; and to my parents, the primary threads o f my life, who imparted to me a sense o f joy and excitement about learning and the discipline and care to attend to details. Finally, I wish to dedicate this document to the memory o f Jim, whose love and innumerable conversations concerning music, life, and carpentry taught me to listen to my own voices and weave my own textural-fabric of life. IV TABLE OF CONTENTS ACKNOWLEDGEMENTS....................................................................................................... iv LIST OF MUSICAL EXAMPLES.......................................................................................... vü LIST OF FIGURES.....................................................................................................................ix ABSTRACT.................................................................................................................................xi Chapter 1. INTRODUCTION...........................................................................................................1 Rationale ......................................................................................................................8 Purpose of the Study .................................................................................................12 Design ........................................................................................................................ 13 Limitations ................................................................................................................. 14 Procedures of the Study ............................................................................................16 The Parametric Profile ........................................................................................ 17 Textural Types; Textural Setting ...................................................................... 18 Written Analysis and Discussion ....................................................................... 20 Graphic Analysis (The Textural-Fabric) .......................................................... 21 2. TEXTURE AS SOUND.............................................................................................. 26 Theoretical Studies and Analytical Approaches to Textural Analysis ................26 Specific Textural Studies and Related Studies ...............................................36 Studies Focusing on the Analysis o f Texture in Keyboard Literature ................41 Literature on the Piano and the Damper Pedal ......................................................48 Literature Surrounding Chopin, His Compositional Style, and the Nocturne...51 3. “THE MEDIUM IS THE MESSAGE:” THE NINETEENTH-CENTURY PIANO, CHOPIN, AND THE GENRE OF THE NOCTURNE............................ 57 Nineteenth-Century Developments of the Piano .................................................. 59 The Damper Pedal ....................................................................................................65 Characteristics of Chopin’s Pedaling ......................................................................69 The Nocturne - Development and Characteristics of the Genre ......................... 74 4. TEXTURAL ANALYSIS: NOCTURNE IN Bk MINOR, OP. 9, NO. 1 ...............80 Parametric Profile .....................................................................................................80 Textural Types .......................................................................................................... 85 Textural Setting ........................................................................................................86 Written Analysis.......................................................................................................89 Figure 1, measures 1-12.....................................................................................89 Figure 2, measures 19-26 .................................................................................. 94 Figure 3, measures 51-60 .................................................................................. 98 Figure 4, measures 61-70 .................................................................................102 Figure 5, measures 74-85 ................................................................................ 105 5. TEXTURAL ANALYSIS: NOCTURNE IN C# MINOR, OP. 27, NO. 1........... 111 Parametric Profile ..................................................................................................I l l Textural Types ........................................................................................................117 Textural Setting ......................................................................................................118 Written Analysis.................................................................................................... 120 Figure 6, measures 1-14 ................................................................................. 120 Figure 7, measures 29-44 ............................................................................... 125 Figure 8, measures 45-56 ...............................................................................130 Figure 9, measures 65-74 ...............................................................................135 Figure 10, measures ................... 94-101........................................................137 6. TEXTURAL ANALYSIS: NOCTURNE IN C MINOR, OP. 48, NO. 1 ............ 141 Parametric Profile .................................................................................................. 142 Textural Types ........................................................................................................148 Textural Setting ......................................................................................................149 Written Analysis.....................................................................................................152 Figiue 11, measures 1-8 ................................................................................. 152 Figure 12, measures 21-3116 ......................................................................... 158 Figure 13, measures 37-43 .............................................................................165 Figure 14, measures 49—52 .............................................................................169 Figure 15, measures 69-77 .............................................................................172