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Musical Prose and Modular Discourse ...

Liu, Lucy Y.

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Musical Prose and Modular Discourse in Select Works by Brahms.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Musical Prose and Modular Discourse in Select Works by Brahms./
Author:	Liu, Lucy Y.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2018,
Description:	264 p.
Notes:	Source: Dissertation Abstracts International, Volume: 80-01(E), Section: A.
Contained By:	Dissertation Abstracts International80-01A(E).
Subject:	Music theory. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10929969
ISBN:	9780438339385

Musical Prose and Modular Discourse in Select Works by Brahms.
Liu, Lucy Y.

Musical Prose and Modular Discourse in Select Works by Brahms. - Ann Arbor : ProQuest Dissertations & Theses, 2018 - 264 p.

Source: Dissertation Abstracts International, Volume: 80-01(E), Section: A.

Thesis (Ph.D.)--Indiana University, 2018.

In the history of Brahms reception, "developing variation" emerged as a central concept. Another suggestive term, "musical prose," often accompanies discussions of developing variation. It originates from Schoenberg's essay "Brahms the Progressive," which defines musical prose as "the direct and straightforward presentation of ideas, without any patchwork, without mere padding and empty repetitions." Current scholarship thinks developing variation, whereby ideas are continuously varied, is the primary way of generating musical prose.

ISBN: 9780438339385Subjects--Topical Terms:

547155
Music theory.

Musical Prose and Modular Discourse in Select Works by Brahms.
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245 1 0 $a Musical Prose and Modular Discourse in Select Works by Brahms.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2018
300 $a 264 p.
500 $a Source: Dissertation Abstracts International, Volume: 80-01(E), Section: A.
500 $a Adviser: Frank Samarotto.
502 $a Thesis (Ph.D.)--Indiana University, 2018.
520 $a In the history of Brahms reception, "developing variation" emerged as a central concept. Another suggestive term, "musical prose," often accompanies discussions of developing variation. It originates from Schoenberg's essay "Brahms the Progressive," which defines musical prose as "the direct and straightforward presentation of ideas, without any patchwork, without mere padding and empty repetitions." Current scholarship thinks developing variation, whereby ideas are continuously varied, is the primary way of generating musical prose.
520 $a This dissertation reconsiders musical prose in light of a number of "prose"-like pieces by Brahms that exhibit almost no developing variation. To accommodate these, I reconceive "musical prose" as encompassing two distinct categories. One is the well-known developing variation, which sees non-exact repetitions operating under a semblance of logic (at any given moment, something of what has come before is preserved while simultaneously something new is introduced). The other is what I call modular discourse , which does not rely on traditional motivic/thematic working-out to generate new content. What modular discourse and developing variation have in common is that both avoid literal repetition (i.e., "empty" repetitions). But whereas developing variation keeps to one train of thought, modular discourse presents incises or "modules" that are not related by a common denominator, and a great number of them in quick succession.
520 $a To demonstrate modular procedures at local and higher formal levels, I analyze the following pieces by Brahms: the slow movements of Symphony nos. 1 and 2, the scherzo of Symphony no. 4, the C-major intermezzo of op. 119, and the opening allegretto of op. 135 by Beethoven. With the exception of the piano intermezzo, all the symphony and quartet movements are made up of multiple rotations and are in dialogue with established forms, either sonata or ternary. My goal is twofold: first, to describe what I call the "modular discourse" within each rotation and pin down the logic of succession from one module to the next. This is a necessary task because, on the surface, there is no thread or probability chart governing the modules' progression, since each idea seems self-contained and does not call for particular continuations. Second, on a larger scale, I trace the formal-functional recontextualization of modules in later rotations to explain a perceived paradox: given the lack of development of these modules---they often return verbatim or simply transposed---what factors are responsible for the changes in expressive meaning of later rotations? In other words, even though the order by which modules appear is preserved from rotation to rotation, the causal logic usually guaranteed by rotational treatment is missing, leading to a defamiliarization of upcoming material at every turn.
590 $a School code: 0093.
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773 0 $t Dissertation Abstracts International $g 80-01A(E).
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