The late keyboard rondos of Carl Philipp Emanuel Bach: Issues of genre, form, and voice leading.
Item
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Title
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The late keyboard rondos of Carl Philipp Emanuel Bach: Issues of genre, form, and voice leading.
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Identifier
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AAI3311205
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identifier
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3311205
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Creator
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Mandelbaum, Karen G.
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Contributor
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Adviser: William Rothstein
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Date
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2008
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Language
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English
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Publisher
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City University of New York.
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Subject
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Music
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Abstract
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This dissertation presents the first comprehensive study of the late keyboard rondos of Carl Philippe Emanuel Bach. He published these works during the 1770s and 1780s in volumes ii through vi of his six collections of keyboard works fur Kenner und Liebhaber.;This study rejects the notion---shared both by many of Bach's contemporaries and by recent scholarship---that Bach's late rondos have refrains that return in keys other than the tonic. Instead, a case is made through a variety of means, including theme, phrase rhythm, harmony, and voice leading as co-determinants of formal structure, that only tonic iterations of the refrain theme are true refrains. Considerations of phrase function and sentence structure help determine the function of thematic material and its relevance as a formal marker. This perspective also demonstrates how a change in phrase function can alter the function of repetitions of thematic material. As a result, transposed thematic repetitions can be understood within changing contexts.;Bach developed a variety of formal designs associated with either the rondo or sonata-rondo genres. This results from a complex interaction between a rondo's surface features and deep-level voice-leading motions. This interaction emanates from the modification of surface divisions that enable the creation of long-range harmonic and linear relationships.;The concepts of unity and diversity in musical expression were important issues to Bach's contemporaries and his late rondos seem to be a practical result of this philosophy. Since their publication, writers have been commenting on the disunities on their surfaces. These disunities are real, demanding the listener's attention. At the same time, many of Bach's techniques provided unity on a variety of levels from the foreground to the deepest levels of middleground.
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Type
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dissertation
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Source
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PQT Legacy CUNY.xlsx
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degree
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Ph.D.
