Dissertation Index
Author: Yoshikawa, Christine M Title: Rachmaninoff’s Integrative Technique and Structural Organization: A Schenkerian Analysis of Allegro Moderato, from Piano Sonata No. 1 in D Minor, Opus 28 Institution: Arizona State University Begun: September 1998 Completed: May 2004 Abstract: This document, an analysis of the Allegro Moderato movement from Piano Sonata No. 1 in D Minor, Op. 28 by Sergei Vassilyevich Rachmaninoff (1873-1943), utilizes analytical techniques developed by Austrian theorist Heinrich Schenker (1868-1935). It comprises two parts: 1) a study that applies the Schenkerian model of tonal analysis; and 2) a commentary on the work’s motivic and structural cohesion, and performance. Through graphing, the author will illustrate how the harmonic progressions, motivic/cellular units, and voice-leading patterns that occur within a phrase or section also serve as the basis for the overall structure of the entire movement. The graphic analysis will also represent hierarchical processes and reveal how the movement unfolds through elaboration and diminution of the fundamental structure. It is hoped that the resulting analysis will not only draw attention to the interrelationships of larger structural units at different levels, but will also guide performers toward their personal discoveries of intrinsic musical meaning, and lead them to grasp the underlying intentions of the composer. The result will be a more profound interpretation that is indispensable in presenting an authentic performance. Keywords: Rachmaninoff, Rachmaninov, Piano Sonata No. 1, perception, cognition, Schenkerian Analysis, Schenker, Dissertation, Theory, Piano, Sonata TOC: TABLE OF CONTENTS CHAPTER I INTRODUCTION Levels and Fundamental Structure Motivic Unity Application of Schenkerian Analysis to Performance Conclusion II A HISTORICAL OVERVIEW Life of Sergei Rachmaninoff: Pianist, Conductor, and Composer Piano Sonata No. 1 in D Minor, Op. 28 III APPLICATION OF SCHENKERIAN THEORY Introduction Exposition: Measures 1 - 116.1 Introduction: Measures 1 - 14 First Theme: Measures 15 - 44 and Structural ^5 Transition: Measures 45 - 73.1 Theme 2: Measures 73.2 - 103 Structural ^4 and Transition: Measures 103 - 116.1 Development: Measures 116.2 - 237 Measures 116.2 - 171 Measures 172 - 238 Recapitulation and Coda: Measures 238 — 357 Structural ^3 and Restatement of Introduction/Theme 2: Measures 238 - 256.1 Restatement of Theme 1: Measures 256 - 273.1 Restatement of Theme 2: Measures 273.2 - 297 Structural Dominant and ^2: Measures 297 - 319 Structural ^1 and Restatement of Second Transition: Measures 319 - 339.1 Coda: Restatement of Theme 2 and Introduction: Measures 339.2 - 350 IV CLOSING REMARKS: PERSPECTIVE ON ANALYSIS AND PERFORMANCE REFERENCES APPENDIX A Notational Symbols and Abbreviations B GRAPHIC ANALYSIS: Allegro Moderato from Piano Sonata No. 1, Op. 28 by Sergei Rachmaninoff Contact: Dr. Christine M. Yoshikawa Florida State University Email: christinemari@christineyoshikawa.com |