Music Theory Online
Music Theory Online |
|
The Online Journal of the Society for Music Theory |
|
Volume 5, Number 3 May, 1999
Copyright � 1999 Society for Music Theory
Comprehensive MTO Dissertation Index.(alphabetized by author)
Anson-Cartwright, Mark. "The Development Section in Haydn's Late Instrumental Works." City University of New York, 1998.
AUTHOR: Anson-Cartwright, Mark
TITLE: The Development Section in Haydn's Late Instrumental Works.
INSTITUTION: City University of New York
BEGUN: May, 1995
COMPLETION: August, 1998
ABSTRACT:
An investigation into the harmonic and linear structure of Haydn's late
developments, based on analyses of approximately 70 sonata-form movements
(mostly first movements) from symphonies, string quartets, piano sonatas, and
piano trios written during the period 1787-1799. A typology of middleground
plans for developments (based on Schenker's analytical method) provides a
general frame of reference for the discussion of various aspects of structure
and design, including many of the unpredictable harmonic techniques which are
hallmarks of Haydn's style. Among these techniques are augmented sixth chords,
whose potential for functional and enharmonic ambiguity Haydn exploited in his
developments in an impressive variety of ways. Comprehensive analyses of the
first movements of Symphonies Nos. 93, 100, and 102 reveal motivic processes on
both foreground and middleground levels, especially those processes that link
the development to other formal sections (notably the slow introduction). It is
argued that Symphony No. 103 (the "Drum Roll") is an outstanding
example of cyclic integration, achieved primarily through harmonic and motivic
associations between the development sections of the outer movements. The
historical significance of Haydn's developments, especially in relation to the
music of Mozart, Beethoven, and Schubert, is briefly assessed.
CONTACT:
Prof. Mark Anson-Cartwright
Music Department
Emily Lowe Hall
112 Hofstra University
Hempstead, NY 11549
Foley, Gretchen. "Pitch and Interval Structures in George Perle's Theory of Twelve-Tone Tonality." University of Western Ontario, 1999.
AUTHOR: Foley, Gretchen
TITLE: Pitch and Interval Structures in George Perle's Theory of
Twelve-Tone Tonality
INSTITUTION: University of Western Ontario
BEGUN: September, 1997
COMPLETION: January, 1999
ABSTRACT:
George Perle, American composer and theorist, has authored an innovative theory called
_Twelve-Tone Tonality_ (1977; 2nd ed. 1996), an atonal compositional system based on
the conjunction of interval cycles and inversional symmetry. This dissertation
explicates Perle's theory in a reorganized, more accessible format, providing detailed
analyses of two etudes from Perle's Six Etudes for Piano (1973-76). The analyses
differentiate between the abstract dimension of the twelve-tone tonal constructs and their
concrete realization at the musical surface, and show both local and long- range
structure. The analyses extend beyond Perle's own dissemination of the theory by utilizing
the tools of pitch-class set theory as well.
The study explores the fundamental entities of Perle's theory, the cyclic sets, outside the context of twelve-tone tonality, from which emerge close associations of set classes identified as "imbricated cyclic set families." These families share a number of structural properties, including inversional symmetry, transpositional combination, and equivalence in other modular universes. The study also introduces an original similarity relation, the RSYM relation, to reflect the symmetrical nature of the intervallic similarity between pairs of set classes in the ICS families.
Through the presentation of the tenets of twelve-tone tonality, the theoretical exploration of the cyclic sets, and the analysis of selected works, the dissertation aims to show the depth and potential of the theory, both within and outside its own context.
KEYWORDS:
atonality, axis of symmetry, interval cycles, inversional symmetry, modular equivalence,
George Perle, pitch-class set theory, similarity relations, transpositional combination,
twelve-tone tonality
TOC:
Chapter 1: Introduction
Chapter 2: The Theory of Twelve-Tone Tonality
Chapter 3: Structural Properties of Cyclic Sets
Chapter 4: Analysis of Etude No.1 and Etude No.4 from Six Etudes for Piano by
George Perle
Chapter 5: Conclusions
CONTACT:
Dr. Gretchen Foley
School of Music, Station 16
Eastern New Mexico University
Portales, NM 88130
Tel: 505-562-2271 or 505-562-2377
Fax: 505-562-2381
email: Gretchen.Foley@enmu.edu
Pacun, David E. "Large-scale Form in Selected Variation Sets of Johannes Brahms." University of Chicago, 1998.
AUTHOR: David E. Pacun
TITLE: Large-scale Form in Selected Variation Sets of Johannes Brahms
INSTITUTION: University of Chicago
BEGUN:
COMPLETION: 1998
ABSTRACT:
This dissertation presents a study of large-scale form in selected variation sets
of Johannes Brahms. Large-scale variation form is defined here as the relationships
between variations (the theme included) and how these relationships may be united or
reduced into an extensive plan covering the entire set--that is, one over and above the
mere series of independent pieces that are expected in variation sets.
Chapter I examines past readings of Brahms's variations and specifically argues for a network-based approach to the analysis of large scale form in variation sets. The purpose here is not so much to engender flexibility as to allow the exploration of large-scale unity, as it might otherwise be conceived, a broad, multi-leveled framework rather than a fixed hierarchical edifice.
Chapters II-VII then offer detailed analyses of a selection of Brahms's variation sets and variation movements. Chapter II, on the Handel Variations, opus 24, demonstrates how the variations divide into three segments of roughly equal length, with parallel developments suggesting a cyclic progression from one segment to the next. This quality is then mirrored in the culminating fugue, which has cyclic properties over and above those normally affiliated with fugal writing.
Chapter III, on the Haydn Variations, opus 56b, argues that the arrangement of variations--here a loose arch--can be explained in part by the deployment of two unordered diatonic pitch-class cells derived from the theme. The passacaglia that concludes the work exhibits a similar progression between the same two diatonic cells and at one point reiterates a common pitch configuration. Textural differences surrounding this configuration suggest that this moment in the passacaglia serves to normalize tensions within the variation's arch design, and thereby allows the work to forge ahead to its concluding thematic apotheosis.
Chapter IV, on the Schumann Variations, opus 9, attempts to modify the current view of the work's large-scale form as guided by Brahms's ascription of the individual variations as "Kreisler" or "Brahms." Here a variety of developments, including hints of a broader cyclic return, cut across the boundaries suggested by the "Brahms"/"Kreisler" ascriptions. Unlike chapters II and III, which assert an order that had not been previously recognized by scholars, the concern here is to problematize the overly tidy orderings suggested by other scholars and to assert a complexity where none has been acknowledged.
Variation sets in Brahms's multi-movement instrumental compositions prove analytically less complex. Chapter V first explores how variation sets occupying interior movement positions often fail to achieve complete closure. In the variation finales to the String Quartet in B -Major, opus 67, and the Clarinet Quintet in B-Minor, opus 115, however, closure is projected in a variety of ways through the recapitulation of first movement material.
Chapters VI and VII treat in greater detail the variation movements from the Piano Trio in C-Minor, opus 87, and the Sextet in G-Major, opus 36. Modifying past analyses which treat the opus 87 movement as rondo-like, chapter VI explores how subtle motives patterns establish a large-scale reversal between the first and last variations. This reversal not only more accurately reflects the large-scale form of the set, but ultimately helps to situate the movement and the movement's form within the context of the work as a whole.
Finally, since large-scale issues in the opus 36 variation movement have already been dealt with in a convincing manner by Elaine Sisman, the body of chapter VII utilizes transpositional combination to show how certain complex thematic relationships within the variation theme and the movement effect a critical shift in the treatment of thematic material on the level of the work as a whole.
[1] Music Theory Online (MTO) as a whole is Copyright � 1999, all rights reserved, by the Society for Music Theory, which is the owner of the journal. Copyrights for individual items published in MTO are held by their authors. Items appearing in MTO may be saved and stored in electronic or paper form, and may be shared among individuals for purposes of scholarly research or discussion, but may not be republished in any form, electronic or print, without prior, written permission from the author(s), and advance notification of the editors of MTO.
[2] Any redistributed form of items published in MTO must include the following information in a form appropriate to the medium in which the items are to appear:
This item appeared in Music Theory Online in [VOLUME #, ISSUE #] on [DAY/MONTH/YEAR]. It was authored by [FULL NAME, EMAIL ADDRESS], with whose written permission it is reprinted here.
[3] Libraries may archive issues of MTO in electronic or paper form for public access so long as each issue is stored in its entirety, and no access fee is charged. Exceptions to these requirements must be approved in writing by the editors of MTO, who will act in accordance with the decisions of the Society for Music Theory.
Prepared by
Michael Toler, Editorial Assistant
31 May 1999