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Ghost-Keys in Bach, Debussy, and Sch...

Castro, Christopher.

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Ghost-Keys in Bach, Debussy, and Schumann; and Two Movements from Brooklyn Narcissus, for Soprano and Chamber Orchestra.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Ghost-Keys in Bach, Debussy, and Schumann; and Two Movements from Brooklyn Narcissus, for Soprano and Chamber Orchestra./
Author:	Castro, Christopher.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2018,
Description:	190 p.
Notes:	Source: Dissertations Abstracts International, Volume: 80-05, Section: A.
Contained By:	Dissertations Abstracts International80-05A.
Subject:	Music theory. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10839894
ISBN:	9780438627970

Ghost-Keys in Bach, Debussy, and Schumann; and Two Movements from Brooklyn Narcissus, for Soprano and Chamber Orchestra.
Castro, Christopher.

Ghost-Keys in Bach, Debussy, and Schumann; and Two Movements from Brooklyn Narcissus, for Soprano and Chamber Orchestra. - Ann Arbor : ProQuest Dissertations & Theses, 2018 - 190 p.

Source: Dissertations Abstracts International, Volume: 80-05, Section: A.

Thesis (Ph.D.)--University of California, Davis, 2018.

This item must not be sold to any third party vendors.

Robert Schumann prefaces his Phantasie op. 17 with a quote from Die Gebusche of Friedrich Schlegel, "Durch alle Tone tonet / Im bunten Erdentraum/Ein leiser Ton gezogen / Fur den der heimlich lauschet." (Through all the tones in this colorful earthly dream, a quietly drawn-out tone sounds for one who listens furtively.) John Daverio's biography of Schumann argues that this "principal tone" is an allusion to Beethoven's An die ferne Geliebte, which is quoted in the first movement of the Phantasie (m. 296). Schumann wrote to Clara about the Phantasie "Aren't you the 'tone' in the motto? I believe so" (Daverio 1997, 153).1 Comparing Clara's opening melody from her own Nocturne op. 6, no. 2 to the Phantasie we see a striking similarity in the opening melody. The idea of a "drawn-out tone...for one who listens furtively" takes on a more obvious guise in Schumann's Humoreske Op. 20. Schumann includes an 'innere Stimme' (marked Hastig) which is visually represented but never sounded. The interior voices of this passage makes a halo around this ghost-voice, only hinting at it. Discovering these musical allusions and 'innere Stimme' led me to a deeper analysis of many of Schumann's works. I began to apply his idea of hidden tones and ghost-voices to key areas in his music, latching on to what I believe to be phantom or ghost-keys. This dissertation aims to discuss ghost-keys in works by Johann Sebastian Bach, Claude Debussy, and Robert Schumann. The Bach alludes to a specific tonal region in the interior details of voice leading and its harmonic progressions. The Debussy pushes this further, structuring cadences around keys that are never fully realized. The Schumann ultimately structures the entire work around a key that is never stated explicitly.

ISBN: 9780438627970Subjects--Topical Terms:

547155
Music theory.
Subjects--Index Terms:

Ghost-keys

Ghost-Keys in Bach, Debussy, and Schumann; and Two Movements from Brooklyn Narcissus, for Soprano and Chamber Orchestra.
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520 $a Robert Schumann prefaces his Phantasie op. 17 with a quote from Die Gebusche of Friedrich Schlegel, "Durch alle Tone tonet / Im bunten Erdentraum/Ein leiser Ton gezogen / Fur den der heimlich lauschet." (Through all the tones in this colorful earthly dream, a quietly drawn-out tone sounds for one who listens furtively.) John Daverio's biography of Schumann argues that this "principal tone" is an allusion to Beethoven's An die ferne Geliebte, which is quoted in the first movement of the Phantasie (m. 296). Schumann wrote to Clara about the Phantasie "Aren't you the 'tone' in the motto? I believe so" (Daverio 1997, 153).1 Comparing Clara's opening melody from her own Nocturne op. 6, no. 2 to the Phantasie we see a striking similarity in the opening melody. The idea of a "drawn-out tone...for one who listens furtively" takes on a more obvious guise in Schumann's Humoreske Op. 20. Schumann includes an 'innere Stimme' (marked Hastig) which is visually represented but never sounded. The interior voices of this passage makes a halo around this ghost-voice, only hinting at it. Discovering these musical allusions and 'innere Stimme' led me to a deeper analysis of many of Schumann's works. I began to apply his idea of hidden tones and ghost-voices to key areas in his music, latching on to what I believe to be phantom or ghost-keys. This dissertation aims to discuss ghost-keys in works by Johann Sebastian Bach, Claude Debussy, and Robert Schumann. The Bach alludes to a specific tonal region in the interior details of voice leading and its harmonic progressions. The Debussy pushes this further, structuring cadences around keys that are never fully realized. The Schumann ultimately structures the entire work around a key that is never stated explicitly.
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