In the Romantic period, expanded tonality offers a creative challenge to composers as they explore new ways of establishing the hierarchy of pitches and utilizing the chromatic and diatonic resources. Prominent compositional techniques of this period include the use of linear harmony with less clearly defined root movements, the structural placement of dominant function, new approaches that redefine tonal stability, motivic treatment that generates harmony and form, flexible treatment of rhythm and meter, and functional treatment of chromatic pitches. This study explores the ways in which characteristics of the Romantic period are influenced by the upper/lower leading tone and the effects of compositional treatment on the expansion of tonality. In addition, this study includes two supportive concepts: (1) the wedge and toggle switch by David Witten and (2) The Neapolitan Complex by Christopher Wintle. In describing techniques in expanded tonality, excerpts from compositions by Robert Schumann and Johannes Brahms (both prominent composers of the Romantic period) are used to establish the significance of these techniques. In the fourth movement of Sonata in E minor "Undine," by Carl Reinecke, the structural treatment of the upper/lower leading tones to tonic and dominant are very prominent features that contribute significantly to the development of the concepts in this study.

Charles Ives is commonly referred to as the "Father of American Music." The implication is one that Ives himself would agree with, that he wrote purely American ideas from his own environment without reference to other styles or methods, in particular the widespread European tradition. Some composers, like Aaron Copland and Roger Sessions, created an American sonority by incorporating the concepts of musical construction they studied at the Paris Conservatoire. Ives, conversely, received no instruction in Europe, but the techniques so prevalent in the music of the French art song are found in certain songs written by Ives. Though he claimed no European influence, however, he used the late nineteenth century French song style in some of his songs, and he also borrowed tunes from the French composers. This study identifies significant trademarks of eighteenth century French song and the stylistic traits associated with a variety of prominent composers of the time. Ives's childhood musical influences, his church position, and his studies at Yale University will establish a relationship between Ives and the French musical ideas. The primary source for his songs is his collection entitled 114 Songs. Ives gathered his songs and put them into one collection which included Four French Songs. Through the analysis of several songs, including the four French songs written by Ives and three comparisons of songs by Ives with songs by French composers, it becomes evident that Ives was influenced, to a certain extent, by French music and used many techniques of the style.

Thesis (Ph. D.)--University of Texas at Austin, 1999. / Vita. Includes bibliographical references (leaves 281-285). Available also in a digital version from Dissertation Abstracts.

Thesis (Ph. D.)--University of Chicago, Department of Music, March 2001. / Includes bibliographical references. Also available on the Internet.

Sonata in A major, Opus 120, was written by Franz Schubert in 1819. The sonata was chosen for this study because of its proximity to the middle of the span of time in which Schubert wrote his piano sonatas. His first piano sonata was written in 1815 and the last in 1828. Since no sonatas were written in either 1821 or 1822, the years in the middle of this span, the sonata written in 1819 was chosen.

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Thesis (Ph. D.)--Ohio State University, 2007. / Title from first page of PDF file. Includes bibliographical references (p. 64-65).

Thesis (Ph. D.)--Kent State University, 2008. / Title from PDF t.p. (viewed Jan. 21, 2010). Advisor: Ralph Lorenz. Keywords: jazz, music, theory, George Macdonald, ballet, harmony, tertian, harmonics analysis, dissonance, consonance, orchestra. Includes bibliographical references (p. 130-140).

The songs of Hugo Wolf represent the culmination of the Romantic German Lied tradition. Wolf developed a personal chromatic harmonic style that allowed him to respond to every nuance of a poetic text, thereby stretching tonality to its limits. He was convinced, however, that despite its novel nature his music could be explained through the traditional theory of harmony. This study determines the degree to which Wolf's belief is true, and begins with an evaluation of the current state of research into Wolf's harmonic practice. An explanation of my analytical method and its underlying philosophy follows; historical perspective is provided by tracing the development of three major elements of traditional theory from their inception to the present day: fundamental bass, fundamental chords, and tonal function. The analytical method is then applied to the works of Wolf's predecessors in order to allow comparison with Wolf. In the investigation of Wolf's harmonic practice the individual elements of traditional functional tonality are examined, focusing on Wolf's use of traditional harmonic functions in both traditional and innovative ways. This is followed by an investigation of the manner in which Wolf assembles these traditional elements into larger harmonic units. Tonal instability, rapid key shifts, progressive tonality, tonal ambiguity, and transient keys are hallmarks of his style. He frequently alters the quality of chords while retaining the function of their scale-degree root. Such "color" chords are classified, and their effect on harmonic progression examined. Wolf's repetitive motivic style and the devices that he employs to provide motion in his music are also discussed. I conclude by examining Wolf's most adventuresome techniques—including parallel chords successions, chromatic harmonic and melodic sequences, and successions of augmented triads--and the suspension of tonality that they produce. This project encompasses all of Wolf's songs, and should be a useful tool for Wolf scholars and performers, students of late nineteenth-century music, the music theorist, and for anyone interested in the concept of harmony as a stylistic determinant.