<p> George Whitefield Chadwick (1854-1931) was an American composer who took the classical European style of music while seeking an American style. His early symphonies and string quartets demonstrate great knowledge of the classical forms, including the ever common sonata form. In sonata form, the tonal center of the piece traditionally modulates to the dominant before shifting back to the tonic for the return of the thematic material in the recapitulation. However, Chadwick takes a different approach within a number of his early sonata forms, notably within Symphony No. 3, String Quartet No. 2 and String Quartet No. 3. Instead of keeping the recapitulation in the original key, he adds the subdominant to the recapitulation as a means to mirror the modulation that occurs the first time the thematic material is presented. However, the strategies employed in these movements are more complex than simply replacing the tonic at the beginning of the recapitulation with the subdominant. Chadwick incorporates the subdominant in various locations within the recapitulation, including both thematic zones within the recapitulation, and even the coda in the case of a sonata-rondo form. Through analyses of each movement and comparing similar examples within Chadwick's music, this thesis discusses the strategies used to incorporate the subdominant in the recapitulation and how they reflect the modulation commonly seen in the exposition.</p>
| Identifer | oai:union.ndltd.org:PROQUEST/oai:pqdtoai.proquest.com:1592837 |
| Date | 02 September 2015 |
| Creators | Barnes, Robert D. |
| Publisher | University of Louisiana at Lafayette |
| Source Sets | ProQuest.com |
| Language | English |
| Detected Language | English |
| Type | thesis |
Page generated in 0.0017 seconds