In the field of musicology, most commentators agree that the late style of Gabriel Faure is highly contrapuntal. At the same time, no systematic or generally accepted methodology exists for the discussion of the way in which Faure combines individual lines, except for Robert Orledge's brief enumeration of Faure's preferred procedures with respect to such things as time and interval of entry. In this thesis, I develop a method for examining counterpoint in selected songs from the late-style song cycle, La Chanson d'Eve. This is based on historical information concerning Faure's education, his pedagogical habits, and his comments concerning the composition of Penelope which was written during the same time period as the songs. This methodology is then applied to an examination of the interaction between the voice and piano, something Orledge has referred to as the "Themeless Contrapuntal Duet." Since Faure himself claimed that he combined motives according to the poetic context, I have also tried to show instances in which their content may be influenced by the text. Finally, I show how these cells of simultaneously sounding motives may be used to create a larger sense of form.
| Identifer | oai:union.ndltd.org:LACETR/oai:collectionscanada.gc.ca:QMM.28048 |
| Date | January 1997 |
| Creators | Flint, Catrena M. |
| Publisher | McGill University |
| Source Sets | Library and Archives Canada ETDs Repository / Centre d'archives des thèses électroniques de Bibliothèque et Archives Canada |
| Language | English |
| Detected Language | English |
| Type | Electronic Thesis or Dissertation |
| Format | application/pdf |
| Coverage | Master of Arts (Faculty of Music.) |
| Rights | All items in eScholarship@McGill are protected by copyright with all rights reserved unless otherwise indicated. |
| Relation | alephsysno: 001609556, proquestno: MQ43866, Theses scanned by UMI/ProQuest. |
Page generated in 0.0018 seconds