A theory of temporal plasticity in tonal music: An extension of the Schenkerian approach to rhythm with special reference to Beethoven's late music.
Item
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Title
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A theory of temporal plasticity in tonal music: An extension of the Schenkerian approach to rhythm with special reference to Beethoven's late music.
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Identifier
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AAI9946218
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identifier
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9946218
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Creator
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Samarotto, Frank Paul.
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Contributor
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Adviser: Carl Schachter
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Date
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1999
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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 sets out to answer the question: What theoretical framework is necessary to adequately describe the phenomena of temporal fluidity and variety in Beethoven's late music? It does so by defining, within a Schenkerian context, musical entities that have not been a formal part of music theory heretofore: temporal plasticity, temporal disjunction, and temporal plane.;Temporal plasticity is defined by the Temporal Plasticity Framework (TPF), an array of six elements that can coincide or conflict to varying degrees. There are three tonal elements, Uninterpreted Pitches, Tonal Structure, and Tonal Hierarchy, and three temporal elements, Uninterpreted Durations, Rhythmic Structure, and Metric Hierarchy. Special to this framework is a phenomenological arrangement modeling a spectrum of interpretedness. Plasticity is understood as a conflict among one or more elements, ubiquitous but rising to a level of markedness that can take on aesthetic import in some music.;Temporal disjunction is an abrupt change in plasticity characteristics that can act as a rupture in the musical fabric. Disjunctions can become boundaries between temporal planes, which are relatively stable areas of plasticity conditions. These are analytically significant when they do not coincide with typical formal segmentation. These latter concepts are illustrated fully through analyses of Haydn's last Piano Sonata and the first movement of Beethoven's Fifth Symphony.;These interdependent concepts are brought together in the analysis of selected late works: the Bagatelles, Op. 119, Nos. 3, 7 and 8, Op. 126 No. 1, the fifth movement Scherzo from the String Quartet, Op. 131, and the first movements of the Piano Sonatas, Opp. 109 and 110. These analyses reveal temporal-tonal structures that involve conflict and contradiction as much as coherence and continuity.
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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.
