The non-tonic opening in Classical and Romantic music.
Item
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Title
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The non-tonic opening in Classical and Romantic music.
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Identifier
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AAI8915577
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identifier
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8915577
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Creator
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Burstein, L. Poundie.
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Contributor
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Adviser: Charles Burkhart
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Date
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1988
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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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Compositions from the Classical and Romantic eras most typically begin with a statement of the tonic chord. Such an opening conforms to the Aristotelean principles of form by helping to establish the beginning of the work as a logical point of departure. Yet it is within the realm of art for a composition to begin on a non-tonic chord. Indeed, non-tonic openings may be found occasionally during the Classical era and with increasing frequency during the Romantic era. Such beginnings seem to undermine the normal function of an opening by producing an initial impression of either randomness or deception. The master composers, however, were careful to work these openings into the structure of the compositions through harmonic and motivic means. By such devices, an opening which initially gives the impression of randomness or deceptiveness can ultimately be recognized as a logical point of departure.;The key to understanding non-tonic openings lies in the appreciation of the "auxiliary cadence," a concept originated and developed by Heinrich Schenker to describe progressions which do not begin on the tonic. Auxiliary cadences can help us understand the inherent tonal unity not only of phrases within compositions which begin on non-tonic chords, but also of introductions and opening themes which begin on non-tonic chords ("auxiliary cadence openings"), works in which a statement of the tonic is delayed until near the end ("auxiliary cadence compositions"), and monotonal works which seem to start and end in different keys (works with "deceptive beginnings").
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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.
