This paper studies the formal ambiguity that arises when a closing gesture occupies a beginning location in the instrumental works of Haydn, Mozart, and Beethoven. Accordingly, I am interested in those formal areas within a piece that are concerned with the functions of either "beginning" or "ending." / I first present a systematic survey of the theoretical principles underlying the formal functions of beginning and ending in this style. I then show some specific examples of typical cadences and of initial units that imitate them. Next, I focus on the "main theme," observing how the function of "beginning" is performed by a "closing initial idea" and then, how the main theme's cadences express their proper function. Finally, I study what happens in other locations such as the return of the main theme, the cadence closing the form, and post-cadential material.
Identifer | oai:union.ndltd.org:LACETR/oai:collectionscanada.gc.ca:QMM.60092 |
Date | January 1991 |
Creators | Sherman-Ishayek, Norma Lillian |
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: 001238472, proquestno: AAIMM67832, Theses scanned by UMI/ProQuest. |
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