STRUCTURE, RHETORIC, IMAGERY: INTERSECTIONS OF LITERARY EXPRESSION AND MUSICAL NARRATIVE IN THE VOCAL WORKS OF BEETHOVEN A thesis submitted to The University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities 2012 MATTHEW A PILCHER SCHOOL OF ARTS, LANGUAGES AND CULTURES Table of Contents Title page ....................................................................................................................................... 1 Table of contents .......................................................................................................................... 2 List of Tables ................................................................................................................................ 5 List of Musical Examples ............................................................................................................ 6 List of Abbreviations ................................................................................................................... 8 Abstract .......................................................................................................................................... 9 Declaration .................................................................................................................................. 10 Copyright statement ................................................................................................................... 11 Acknowledgements .................................................................................................................... 12 Chapter 1: Introduction ......................................................................................... 13 1.1—Assessing the Relationship between Words and Music .............................................. 13 1.2—The Primary Focus of this Study .................................................................................... 15 1.3.1—Beethoven’s Engagement with Text: Literary Interests ........................................... 16 1.3.2—Beethoven’s Engagement with Text: The Vocal Works .......................................... 23 1.4—Genre as a Determining Factor ...................................................................................... 27 1.5—General Literature Review............................................................................................... 29 1.6—Approaches to Text Setting and Word-Music Relationships ..................................... 32 1.7—Methodology: Four Primary Points of Intersection .................................................... 35 1.7.1—Chapter 2: The Relationship between Textual and Musical Structure................... 35 1.7.2—Chapter 3: Metre and Rhythm—Derivation, Deviation, Manipulation ................ 36 1.7.3—Chapter 4: Meaning—Affective Tonality and Localised Depiction ...................... 38 1.7.4—Chapter 5: Intersections of Textual and Musical Narrative .................................... 41 1.8—Conclusion ......................................................................................................................... 46 Chapter 2: The Relationship between Textual and Musical Structure ................ 49 2.1—Introduction ...................................................................................................................... 49 2.1.1—Methodology: Assessing Structure .............................................................................. 52 2.2—Strophic Settings ............................................................................................................... 53 2.2.1—Category 1: Uniform Text Structure—Uniform Musical Structure ....................... 56 2.2.2—Category 2: Irregular Text Structure—Irregular Musical Structure ....................... 58 2.2.3—Category 3: Irregular Text Structure—Uniform Musical Structure ....................... 60 2.2.4—Category 4: Uniform Text Structure—Irregular Musical Structure ....................... 63 2.3—Varied-Strophic Songs and Structural Deviation ......................................................... 65 2.4—Through-Composed Songs ............................................................................................. 67 2.4.1—‘Hybrid’ Through-Composed Settings ....................................................................... 71 2.4.2— ‘Single-Strophe’ Through-Composed Settings ......................................................... 73 2.4.3—Bipartite Through-Composed Settings ...................................................................... 75 2.4.4—Ternary Through-Composed Settings ........................................................................ 77 2.4.5—Multi-Sectional Through-Composed Settings ........................................................... 80 2.5—Other Structural Types: ‘Instrumental Forms’ ............................................................. 81 2.6—Large-Scale Works and a Plurality of Structural Approaches .................................... 83 2.7—Conclusions ....................................................................................................................... 88 Chapter 3: Metre and Rhythm—Derivation, Deviation, Manipulation ................ 92 3.1—Introduction ...................................................................................................................... 92 2 3.2—Metre and Rhythm in Strophic Songs ........................................................................... 93 3.3.1—The Sketching of Rhythm and Metre ....................................................................... 102 3.3.2—Accommodating Metric and Syllabic Irregularities in Varied-Strophic Settings .................................................................................................. 104 3.3.3—Sketching Metric Contrast and Character ................................................................ 106 3.4—Metric Contrast in Multiple Settings of a Text ........................................................... 109 3.5.1—Rhythmic and Metric Manipulation in An die ferne Geliebte .................................... 114 3.5.2—Diverse Rhythmic Vocabularies and Pronounced Manipulation in Solo Arias ...................................................................................................................... 127 3.5.3—Rhythmic and Metric Diversity in Multi-Movement Works ................................. 130 3.6—Conclusions ..................................................................................................................... 142 Chapter 4: Meaning—Affective Tonality and Localised Depiction ................... 148 4.1—Introduction .................................................................................................................... 148 4.2—Tonality and Affective Meaning(s) ............................................................................... 151 4.2.1—Localised Harmonic Deviation: Expressive or Structural? ................................... 158 4.3—Localised Depiction of Imagery or Meanings ............................................................ 167 4.3.1—Spatial or Directional Musical Depiction ................................................................. 171 4.3.2—Depiction of Relative Temporal Duration .............................................................. 180 4.3.3—Accompaniment and Imitation of the Natural World ........................................... 182 4.3.4—Beyond Sounds: Depictive Use of Rests and Silences ........................................... 187 4.4—Conclusions ..................................................................................................................... 194 Chapter 5: Intersections of Textual and Musical Narrative ............................... 199 5.1—Introduction .................................................................................................................... 199 5.1.1—Defining Temporality ................................................................................................. 200 5.1.2—Assessing ‘Static’ Narrative Fragments .................................................................... 202 5.1.3—Aspects of Focalisation ............................................................................................... 203 5.1.4—Changing Conditions or Emotional States .............................................................. 204 5.1.5—Assessing the Spatial Dimension............................................................................... 205 5.2—Extremes: Complete Narratives versus Texts without Narrative Content ............ 206 5.3—Temporality and Linear Narrative Trajectories .......................................................... 207 5.4— ‘Static Narrative Fragments’ and Implied Narrative Contexts ............................... 212 5.5—Focalisation: Aspects of Narration and Embedded Dialogue ................................. 217 5.6—Changing Conditions and Evolving Emotional States.............................................. 223 5.7—Spatiality and the Perception of Sensory Narrative Landscapes ............................. 231 5.8—Narrative Synthesis in An die ferne Geliebte ................................................................... 244 5.9—Broadening the Narrative Scope: Beyond the Solo Song ......................................... 248 5.9.1—Occasional Works, ‘External Narratives’ and Context .......................................... 248 5.9.2—Mass Texts and ‘Functional’ or ‘Participatory’ Narratives ...................................