The role of multiple new -key themes in selected sonata -form expositions.
Item
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Title
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The role of multiple new -key themes in selected sonata -form expositions.
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Identifier
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AAI3144123
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identifier
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3144123
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Creator
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Miyake, Jan.
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Contributor
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Adviser: William Rothstein
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Date
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2004
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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 investigates non-motivic ways of connecting multiple new-key themes; demonstrates how an exposition's new-key area can contain diverse thematic material yet still cohere; and shows that the number of new-key themes affects the amount of characteristic melodic material in an exposition. The expositions covered by this study contain from zero to three new-key themes. How is it that a new-key area can embark on drastically different strategies---from introducing no new characteristic material to introducing multiple new themes---yet still project a sense of a unified section?;I explore two main relationships between new-key themes. First, I show that the construction of new-key themes---namely, their intrathematic organization---influences the order in which they occur. Second, I argue that voice-leading "problems" in the first new-key theme provide opportunities for resolution or clarification in subsequent themes.;In addition to using Schenkerian analysis, this study adopts features from two recent sonata-form theories: James Hepokoski and Warren Darcy's Sonata Theory and William Caplin's revitalization of Formenlehre. These recent theories of form view the distinction between subordinate and closing themes in fundamentally different ways. Caplin does not distinguish closing from subordinate themes. In his view, what I consider to be a closing theme is either a second subordinate theme or part of a chain of codettas in the closing section. Hepokoski and Darcy, on the other hand, invoke the idea of the essential expositional closure---usually the first perfect authentic cadence in the new-key area---to separate subordinate and closing zones. New-key themes occurring before and after the essential expositional closure have different functions and are labeled as subordinate and closing themes, respectively.;Throughout this exploration of the new-key area, my findings are supported by a large body of analyses that draw on the analytical approaches of Hepokoski and Darcy, Caplin, and Schenker. I discuss connections between these seemingly incongruous theories of form and investigate the few tensions that exist. By applying these theories to the exposition's new-key area, I advance a broader and more nuanced understanding of sonata form.
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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.
