The last thirty years have seen a resurgence in the research of sonata form. One groundbreaking treatise in this renaissance is James Hepokoski and Warren Darcy’s 2006 monograph Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata. Hepokoski and Darcy devise a set of norms in order to characterize typical happenings in a late 18th-century sonata. Subsequently, many theorists have taken these norms (and their deformations) and extrapolate them to 19th-century sonata forms. My work aims to characterize Antonin Dvořák’s chamber music in the context of Sonata Theory, using the treatise as a jumping off point in order to analyze his music. This dissertation contains three main chapters. The first chapter deals with two of the themes of this dissertation: form and influence. Schubert’s influence on Dvořák’s music was notable, so after comparing some of Dvořák’s writing about Schubert’s music, I examine specific musical elements (sonic, formal, and structural) from Schubert’s String Quintet in C Major, D. 956 that Dvořák emulates in his string quartet in the same key. Chapters 3 and 4 put Dvořák’s sonata form practices into a 19th-century context, and I examine how he treats the MC and EEC sections of an exposition. In Chapter 3, I contend that Dvořák’s use of energy loss before and after the medial caesura is just as rhetorically successful as 18th-century composer’s use of energy gain in the transition section of a sonata. Additionally, many of Dvořák’s sonata forms feature expositions with vastly elongated S themes, thereby pushing rhetorical closure of the exposition back. This is unlike 18th-century sonatas, whose expositions routinely wrap up with a cadence in the second key after the first phrase. Thus, Chapter 4 displays several sonatas where Dvořák extends S-rhetoric in order to delay the close of the exposition. Even though not originally intended for this music, Hepokoski and Darcy’s treatise provides a fruitful set of norms that can be related to works from the 19th century. Additionally, Dvořák’s music is especially appropriate for this treatment, as his compositional style owes many allegiances to 18th-century techniques.

Este trabalho propõe um novo modelo de análise musical, em complementação à análise harmônica tradicional, com o estabelecimento de dois atratores - a partir da dilatação da estabilidade harmônica a partir do séc. XVIII e da resolução da dicotomia temática, condições fundamentais para a existência do modelo Sonata - definidos como catástrofe elementar com um fator de controle e dois atratores a partir da Teoria das Catástrofes de René Thom e da simultânea identificação de conflitos formais na análise estrutural, estética e harmônica da Forma Sonata, determinando seu ponto de catástrofe e definindo a mudança total em seu formato, que passa a comunicar uma nova estrutura formal diante da ultrapassagem da curva da descontinuidade. / This project proposes a new model of musical analysis, complementary to the traditional harmonic analysis. The establishment of two attractors issued from the expansion of the 18th centurys harmonic stability and from the thematic resolution of the thematic dichotomy, basic conditions for the Sonata Forms existence is its starting point, which defines an elementary catastrophe with one control factor from the René Thoms Catastrophe Theory. The simultaneous identification of formal conflicts in the structural, aesthetics and harmonic analysis of the Sonata Form is a further condition to determine its degenerate critical point and to define the total change in its format, which is to communicate a new formal structure after passing through its pitchfork bifurcation.

應用於音樂的轉換理論，自大衛·盧因於1987年首先提出，至今已逾四分之一個世紀。在轉換理論中，盧因極具創見地將音樂的動態以數學中的群論及函數的概念表達，冀望以此改變過往音樂分析中過於注重對音樂素材及其特性的靜態研究，而忽視素材之間轉換過程的問題。盧因的研究對於西方理論學界產生了極大的影響。有關理論的深層探討，特別是在音樂與數學結合的方向顯示了驚人的成果。然而，就如何將轉換理論系統地應用於音樂分析，迄今最為成功的嘗試仍僅為盧因1993年成書的四首作品分析。對於轉換理論如何體現某個作曲家個人風格及其發展的研究，更是絶無僅見。本文將轉換理論應用於分析德彪西的兩首管弦樂傑作《牧神午後前奏曲》及芭蕾舞劇《遊戲》。雖然有關德彪西作品的分析者眾，但囿於理論途徑的限制，能充分展現在新舊風格轉換的歷史語境下，德彪西音樂獨特之處的研究仍極為有限。在本文中，轉換理論因其彈性的適用性，為兩首作品中的音高組合與曲式的關係，以及由此體現的風格衍變與美學思想，提供了獨特而極具說服力的分析視角。 / Theoretical development that stems from David Lewin’s transformational theory has flourished since its inception in 1987. However, the analytical application of Lewin’s theory remains scant, with Musical Form and Transformation: Four Analytical Essays (1993) standing out as one major achievement. Transformational theory is more often used to address specific theoretical issues, rather than to enhance our understanding of musical works or stylistic traits of individual composers. This study explores the applicability of Lewin’s transformation theory to two of Debussy’s orchestral masterworks, Prélude à l’après-midi d’un faune and Jeux, and contributes to Debussy scholarship by offering readings that cast new light on the interrelationship between pitch organization and form in them. / Detailed summary in vernacular field only. / Hong, Ding. / Thesis (Ph.D.) Chinese University of Hong Kong, 2014. / Includes bibliographical references (leaves 181-191). / Abstracts also in Chinese.

Este trabalho propõe um novo modelo de análise musical, em complementação à análise harmônica tradicional, com o estabelecimento de dois atratores - a partir da dilatação da estabilidade harmônica a partir do séc. XVIII e da resolução da dicotomia temática, condições fundamentais para a existência do modelo Sonata - definidos como catástrofe elementar com um fator de controle e dois atratores a partir da Teoria das Catástrofes de René Thom e da simultânea identificação de conflitos formais na análise estrutural, estética e harmônica da Forma Sonata, determinando seu ponto de catástrofe e definindo a mudança total em seu formato, que passa a comunicar uma nova estrutura formal diante da ultrapassagem da curva da descontinuidade. / This project proposes a new model of musical analysis, complementary to the traditional harmonic analysis. The establishment of two attractors issued from the expansion of the 18th centurys harmonic stability and from the thematic resolution of the thematic dichotomy, basic conditions for the Sonata Forms existence is its starting point, which defines an elementary catastrophe with one control factor from the René Thoms Catastrophe Theory. The simultaneous identification of formal conflicts in the structural, aesthetics and harmonic analysis of the Sonata Form is a further condition to determine its degenerate critical point and to define the total change in its format, which is to communicate a new formal structure after passing through its pitchfork bifurcation.

Thesis (Ph. D.)--University of Rochester, Eastman School of Music, 1996. / Includes vita and abstract. Accompanies: First symphony / by Jonathan J. Turner (1 score (107 p.) ; 28 cm.). Includes bibliographical references. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/5752

Samuel Beckett’s skepticism regarding language’s ability to communicate effectively drives his dramas’ use of formal and stylistic gestures that emphasize the musical potential of words. In this report, I analyze Beckett’s play Endgame (1958) in light of its musical elements and their implications for performance. Critics have debated the putative presence of sonata form, a type of musical structure prevalent among classical pieces from the eighteenth century, in Endgame. Emmanuel Jacquart proposes that the play follows such a form, while Thomas Mansell and Catherine Laws doubt the possibility of such interdisciplinarity. Mansell wonders whether the ascription of sonata form to Endgame’s structure merely couches dramatic fundamentals in musical terms, while Laws argues that the lack of harmonic structure in human speech prevents a spoken medium like drama from fully absorbing the formal conventions of classical music. I explore the uncharted territory between these two critical camps, linking the implications of Jacquart’s position for the performance of Endgame, as well as Mansell’s and Laws’s reiterations of the fundamental separation of language and music, to Beckett’s own preoccupation with the inability of language to express thought and emotion adequately. Ultimately, I contend that Endgame functions not simply as a sonata, but as a frustrated sonata; that is, it approximates sonata form but can never fully replicate it. As such, Endgame becomes a point of origin for Beckett’s more experimental later plays, a concept I illustrate by demonstrating how Play (1963), the work commonly regarded as the turning point between Beckett’s early and late dramatic styles, essentially revisits and refines the frustrated sonata. / text

Made available in DSpace on 2014-12-02T11:16:51Z (GMT). No. of bitstreams: 0 Previous issue date: 2014-08-27Bitstream added on 2014-12-02T11:21:20Z : No. of bitstreams: 1 000799740.pdf: 406073 bytes, checksum: 6aebdb82da008189d1c0c6c5c52629b4 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Dentro do âmbito artístico, os conceitos de cânone e tradição são basilares. São eles os responsáveis por orientar e restringir desde a prática até a concepção daquilo que tomamos por música clássica. Seus mecanismos moldam a prática e transformam a teoria. A partir do exame destes conceitos, tal como entendidos por uma seleção de abordagens advindas da musicologia, da filosofia e da teoria literária, investigaremos nesta dissertação como se formou um determinado cânone. Trata-se daquele pensado pelos compositores surgidos no pós-guerra europeu, sobretudo nos anos de 1946 a 1954. Encabeçados por Pierre Boulez, instituições musicais e compositores, publicações editoriais e programas de orquestra pareciam apontar apenas para um tipo de música: a música serial. Analisaremos aqui como Boulez a defendeu e mobilizou forças para que ela se tornasse a poética mais comentada e praticada nos anos seguintes à Segunda Guerra. Para tanto, analisaremos sobremaneira os textos contidos na sua coletânea de ensaiosApontamentos de Aprendiz. Como veremos, longe de ser uma postura arbitrária, a tentativa de manipulação do cânone levada a cabo por uma série de atores torna-se uma medida política, praticada por aqueles que possuem concepções e determinações do que a música, sua prática e o seu entendimento devem ser. / The concepts of Canon and Tradition are of the most importance inside the artistic debate. Not only they shape our understanding of what music should be but also what we take as being classical music. Their mechanisms help us shape practices and transform what we take as being theories. Through the investigation of the canon’s mechanisms, as exemplified by several notions ranging from musicology, philosophy and literary criticism, we will investigate in this dissertation how one particular canon took shape. It has to do with the music being created and played in the Post-war period, that is, serialism. Far from being the only music composed in those years, Pierre Boulez, among several musical institutions and publications, took every measure to guarantee its power among all the other artistic languages. We will analyze here how Boulez defended that music, being responsible for the dimension it has achieved in those years. In order to do that we will investigate more accurately Boulez’s essays collected in Stocktakings from an Apprenticeship. As we will see, far from being an arbitrary solution, the manipulation of the canon has political implications, responsible for what governs our ways of understanding and practicing music.

The lecture recital was given on August 8, 1978. The discussion of constructive features in Gabrielli's In ecclesiis (1615) and Canzon VIII à 8 (1615) and Stravinsky's In Memoriam Dylan Thomas established that the architecture of St. Mark's Cathedral and the selected works by the composers bear a simple number relation.

Antoine Reicha stands as an important figure in the growing systematization of musical form. While Traite de melodie (1814) captures the essence of eighteenth-century concern with tonal movement and periodicity, Reicha's later ideas as represented in Traite de haute composition musicale (1824-26) anticipate descriptions of thematic organization characteristic of his nineteenth-century successors. Three important topics emerge as crucial elements: melody, thematic development, and schematic categorization of complete pieces.

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