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Harmonic and Thematic Interactions i...

Jeong, Soo Hyun.

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Harmonic and Thematic Interactions in Richard Strauss's Vier Letzte Lieder: A Synthesis of Two Analytical Approaches.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Harmonic and Thematic Interactions in Richard Strauss's Vier Letzte Lieder: A Synthesis of Two Analytical Approaches./
Author:	Jeong, Soo Hyun.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2019,
Description:	280 p.
Notes:	Source: Dissertations Abstracts International, Volume: 82-10, Section: A.
Contained By:	Dissertations Abstracts International82-10A.
Subject:	Music. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28332483
ISBN:	9798557088978

Harmonic and Thematic Interactions in Richard Strauss's Vier Letzte Lieder: A Synthesis of Two Analytical Approaches.
Jeong, Soo Hyun.

Harmonic and Thematic Interactions in Richard Strauss's Vier Letzte Lieder: A Synthesis of Two Analytical Approaches. - Ann Arbor : ProQuest Dissertations & Theses, 2019 - 280 p.

Source: Dissertations Abstracts International, Volume: 82-10, Section: A.

Thesis (Ph.D.)--University of Cincinnati, 2019.

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

This dissertation proposes a new analytical approach in which neo-Riemannian operations are coordinated with Schenkerian prolongational readings by considering local and global tonics. The purpose of this analytical view is to illustrate the ways in which the two opposing analytical readings can interact in analytical praxis. Ultimately, this study shows the benefits of analytical integration, which provides an opportunity for neo-Riemannian operations to highlight specific recursive motives within a functionally tonal context.The dissertation is divided into two parts. The first part focuses on the analytical and theoretical resources and concepts that explain tonal structure. To model the perception of tonal structure, this dissertation integrates a Schenkerian perspective, a neo-Riemannian perspective, and an additional perspective made available by synthesizing the two disparate theoretical paradigms. The first part opens with a review of the literature, focusing on research that has attempted to define chromaticism in tonal music and the analytical possibilities related to chromaticism. In regard to shifting interactions between diatonic and chromatic space, this first part addresses a variety of approaches proposed by theorists that consider "centricity."The second part provides an analysis of a selected work by Richard Strauss, Vier letzte Lieder (completed in 1948). This composition is used as a case study on the application of an analytical synthesis of two approaches: Schenkerian prolongation and neo-Riemannian transformation. The second part reveals harmonic and thematic interactions that have been invoked in the analytical discourse of Strauss's work, Vier letzte Lieder - consisting of "Fruhling," "September," "Beim Schlafengehen," and "Im Abendrot."Each of the four analytical chapters are divided into four discrete sections. The first section includes an overview of each song and observations on the relationships between the text and music. This section focuses on how musical parameters--texture, dynamics, melodic contour, key changes, and formal divisions--significantly relate to the text of the poem. The second section discusses formal and tonal features based on the analytical perspectives of Schenkerian Ursatz and hierarchy. The Schenkerian sketches presented in this section provide a prolongational reading of music "in a given key," with four different hierarchical levels: the background, the deep-middleground, the middleground, and the foreground. The third section offers an analytical study based on a synthesis of the harmonic and linear phenomena. This section focuses on how the recurring linear scale-degree motives relate to various types of neo-Riemannian operations to express compositional consistency and inner coherence. Given the synthesized model proposed in this dissertation, each analytical chapter demonstrates careful consideration of the thematic content, especially through recurring linear motions and strenuous harmonic activity. Lastly, each analytical chapter contains a summary section.From a methodological perspective, the four different analytical chapters present the primary perspective: the recursion of the synthesized model achieves inner coherence and continuity in tonal and harmonic ambiguity. Based on this principle, the focus of presenting the four analytical chapters in order is to show how the synthesized model produced in each song can yield different analytical insights that contrast with existing paradigms. Ultimately, this dissertation suggests that exploring Strauss's music may yield greater rewards if analysts are not limited to a single approach. Therefore, embracing certain aspects of different analytical perspectives can allow us to better understand musical works.

ISBN: 9798557088978Subjects--Topical Terms:

516178
Music.
Subjects--Index Terms:

Schenkerian Theory

Harmonic and Thematic Interactions in Richard Strauss's Vier Letzte Lieder: A Synthesis of Two Analytical Approaches.
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