SENTENTIAL CYCLING: STRUCTURAL LAYERING IN THE BAROQUE ERA Jennifer M. Smith A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2008 Committee: Per F. Broman, Advisor Nora Engebretsen © 2008 Jennifer M. Smith All Rights Reserved iii ABSTRACT Per F. Broman, Advisor In his book, Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven, William Caplin developed a model for describing formal structure from the level of the phrase to that of an entire piece. Scholars such as James MacKay, Matthew BaileyShea, and Per F. Broman have expanded Caplin’s discussion of phrase structure to encompass works by composers outside of the Classical era, including William Byrd, Richard Wagner, and Béla Bartók. Little scholarship has bridged the gap between the Renaissance and Classical eras, however. This document considers the applicability of Caplin’s model to the motivic and canonic Baroque phrase structure. After an overview of Caplin’s terms and ideas, it discusses the primary ideological and compositional similarities, as well as the obvious differences, between the Baroque and Classical periods, drawing upon the perspectives of historical writers including Johann Mattheson, Joseph Riepel, Johann Philipp Kirnberger, and Heinrich Christoph Koch. Then, it illustrates the Baroque sentence, using examples from Johann Sebastian Bach, Antonio Vivaldi, and Arcangelo Corelli, and introduces the concept of sentential cycling in relatively simple movements by Corelli and Vivaldi. It culminates in the application of this concept to a complicated piece by providing a multi-level analysis of the Andante con moto section of J.S. Bach’s Motet II, “Der Geist hilft unsrer Schwachheit auf,” BWV 226. iv This thesis is dedicated to my grandmother, Mildred Dean, without whom I never would have made it this far. v ACKNOWLEDGMENTS I would like to take this opportunity to thank Dr. Per Broman for the time and support he lent throughout this process and also during my journey through the degree program. Without his introduction to Caplin’s work, I would not have found such an excellent vehicle for relating my ideas about form. I also want to recognize Dr. Nora Engebretsen for her exceptional patience, support, and proof-reading skills. Many thanks to Dr. Gene Trantham and Dr. William Lake, as well, for their guidance and encouragement throughout my time at Bowling Green. Additionally, I want to thank my friends and family, especially my husband and my father, for their unending support in my career and educational goals, and also my mentor, Dr. Jonathan Brooks, who first encouraged me to pursue music theory as a profession. vi TABLE OF CONTENTS Page CHAPTER I. INTRODUCTION.......................................................................................... 1 Basic Theme Types.................................................................................................... 2 Hybrid Themes........................................................................................................... 6 CHAPTER II. HISTORICAL CONTRIBUTIONS TO PHRASE STRUCTURE............... 11 Johann Mattheson...................................................................................................... 12 Joseph Riepel............................................................................................................. 16 Johann Philipp Kirnberger ......................................................................................... 17 Heinrich Christoph Koch ........................................................................................... 21 Implications for the Baroque ..................................................................................... 34 CHAPTER III. THE BAROQUE SENTENCE AND SENTENTIAL CYCLING.............. 35 The Baroque Sentence ............................................................................................... 35 Sentential Cycling...................................................................................................... 45 “Der Geist hilft”......................................................................................................... 58 CHAPTER IV. CONCLUSION ........................................................................................... 69 BIBLIOGRAPHY .................................................................................................................. 71 vii LIST OF EXAMPLES Example Page 1 Beethoven, Piano Sonata in F Minor, Op. 2, No. 1, I, mm. 1–8................................ 3 2 Mozart, Eine kleine Nachtmusik, K. 525, II, mm. 1–8 .............................................. 5 3 Mozart, Piano Sonata in C, K. 330/300h, II, mm. 1–8 .............................................. 7 4 Beethoven, Violin Sonata in D, Op. 12/1, III, mm. 1–8 ............................................ 8 5 Haydn, Piano Sonata in C, Hob. XVI: 35, I, mm. 1–8 .............................................. 9 6 Beethoven, String Quartet in G, Op. 18/2, IV, mm. 21–28 ....................................... 9 7 Sentential analysis of an unnamed example from Mattheson.................................... 16 8 A four-measure phrase extended to five measures .................................................... 20 9 An inserted measure in a four-measure phrase.......................................................... 21 10 A basic internal phrase............................................................................................... 23 11 A basic closing phrase ............................................................................................... 23 12 Sentential analysis of a basic phrase with two incomplete incises ............................ 24 13 A five-measure phrase obtained through extension of rhythmic values.................... 25 14 Two unequal segments joined to form a five-measure phrase................................... 25 15 Two five-measure phrases constructed by repeating and altering the second measure of a four-measure phrase ............................................................................. 26 16 Sentential analysis of a six-measure extended phrase ............................................... 27 17 An extended phrase created by adding an appendix.................................................. 27 18 Sentential analysis of a phrase extended through continuation of a rhythmic idea... 28 19 Sentential analysis of a phrase and its extension through parenthesis....................... 29 20 Two phrases combined into a compound phrase by suppressing a measure ............. 29 viii 21 Two complete phrases compounded into one by changing the ending of one phrase ............................................................................................ 30 22 An entangled phrase formed by switching mm. 3–4 with mm. 5–6.......................... 31 23 Sentential analysis of two phrases with quarter-note caesuras .................................. 31 24 Three melodic components of a cadence in 2/4 and 3/4............................................ 32 25 An extended closing phrase with a half cadence appendix........................................ 33 26 A deceptive cadence in the melodic line.................................................................... 33 27 A dissonant deceptive cadence in the bass ................................................................ 34 28 J.S. Bach, St. Matthew Passion, Aria No. 12, mm. 1–9 ............................................ 36 29 J.S. Bach, Fifth English Suite, Sarabande, mm. 1–8 ................................................. 37 30 Vivaldi, Sonata in C Major for Violin and Basso Continuo, RV 3, Corrente, mm. 23–30 ................................................................................................. 38 31a Vivaldi, Sonata in G Major for Violin and Basso Continuo, RV 25, mm. 200–204. 40 31b Recomposition of mm. 200–204 without interpolation ............................................. 40 32 Corelli, Op. 6, No. 5, I, mm. 77–85 ........................................................................... 42 33 Corelli, Op. 6, No. 7, III, mm. 1–5 ............................................................................ 43 34 Corelli, Op. 6, No. 10, V, mm. 9–16.......................................................................... 44 35 Vivaldi, Trio Sonata in D Minor, “Follia,” RV 63, II................................................ 46 36 Corelli, Op. 6, No. 11, III, Sarabanda Largo ............................................................. 49 37 Corelli, Op. 6, No. 12, IV, Giga Allegro, mm. 1–35 ................................................. 51–2 38 Vivaldi, Sonata for Violin and Basso Continuo, RV 5, Largo .................................. 55 39 Sentential analysis of “Der Geist hilft,” mm. 1–8 ..................................................... 60 40 Reduction of second-level sentential qualities in mm. 33–40 ................................... 61 ix 41 Two structural levels in the A section, mm. 1–40 ..................................................... 64–5 42 Sentential analysis of the B section, mm. 41–69 ....................................................... 67 1 CHAPTER 1. INTRODUCTION In his book, Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven,1 William Caplin developed a model for describing formal structure from the level of the phrase to that of an entire