Within the last several decades, the concept of tonic-dominant polarity as the essence of the Classical style has emerged as an intriguing topic for studies by musical theorists and musicologists alike. The potential of the subdominant to function as an antidominant, or the tonic-subdominant relation to function as the antithesis of tonic-dominant polarity, has been recognized by scholars for centuries. Therefore, the primary topic of investigation in this study is the manner in which these two polar forces coexist in selected sonata-form movements of Ludwig van Beethoven and Franz Schubert. / Beethoven and Schubert, although contemporaries and both inhabitants of Vienna, differed greatly in their structural use of the subdominant. Comparative analysis shows that, with respect to the use of subdominant regions as secondary tonal areas in sonata-form movements, Beethoven retains, enforces, and expands the Classical concept of tonic-dominant polarity. In contrast, Schubert occasionally employs the subdominant to weaken tonic-dominant polarity, and therefore breaks with the Classical tradition. / Source: Dissertation Abstracts International, Volume: 43-08, Section: A, page: 2487. / Thesis (Ph.D.)--The Florida State University, 1982.
| Identifer | oai:union.ndltd.org:fsu.edu/oai:fsu.digital.flvc.org:fsu_74908 |
| Contributors | HARBINSON, WILLIAM GRADY., Florida State University |
| Source Sets | Florida State University |
| Detected Language | English |
| Type | Text |
| Format | 181 p. |
| Rights | On campus use only. |
| Relation | Dissertation Abstracts International |
Page generated in 0.0022 seconds