The late chromatic music of Chopin is often difficult to analyze, particularly with a system of Roman numerals. The study examines Schoenberg's Grundgestalt concept as a strategy for explaining Chopin's chromatic musical style. Two short Chopin works, Nocturne in E-flat major. Op. 9, No. 2, and Etude in E major, Op. 10, No. 3, serve as models in which the analytic method is formulated. Root analysis, in the manner of eighteenth-century theorist Simon Sechter, is utilized to facilitate harmonic analysis of chromatic passages. Based upon the analytic method developed, the study analyzes the last three polonaises of Chopin: Polonaise in F-sharp minor, Op. 44, Polonaise in A-flat major, Op. 53, and Polonaise-Fantasie in A-flat major, Op. 61. The Grundgestalt-based analysis shows harmonic, melodic and rhythmic connections in order to view Chopin's chromaticism and formal structure from a new perspective. With this approach, the chromaticism is viewed as essential to the larger form.
| Identifer | oai:union.ndltd.org:unt.edu/info:ark/67531/metadc278707 |
| Date | 12 1900 |
| Creators | Spicer, Mark Joseph |
| Contributors | Phipps, Graham Howard, Dworak, Paul E., 1951-, Clark, Thomas Sidney, Crowder, Robert D. |
| Publisher | University of North Texas |
| Source Sets | University of North Texas |
| Language | English |
| Detected Language | English |
| Type | Thesis or Dissertation |
| Format | iv, 198 leaves : ill., Text |
| Rights | Public, Copyright, Copyright is held by the author, unless otherwise noted. All rights reserved., Spicer, Mark Joseph |
Page generated in 0.0021 seconds