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Schenkerian Approaches to the Music of Dmitri Shostakovich /

Record Type:	Electronic resources : Monograph/item
Title/Author:	Schenkerian Approaches to the Music of Dmitri Shostakovich // Trevor C Hofelich.
Author:	Hofelich, Trevor C.,
Description:	1 electronic resource (225 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 85-12, Section: A.
Contained By:	Dissertations Abstracts International85-12A.
Subject:	Music theory. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=30995328
ISBN:	9798382789163

Schenkerian Approaches to the Music of Dmitri Shostakovich /
Hofelich, Trevor C.,

Schenkerian Approaches to the Music of Dmitri Shostakovich /Trevor C Hofelich. - 1 electronic resource (225 pages)

Source: Dissertations Abstracts International, Volume: 85-12, Section: A.

This study explores tonal states in the music of Dmitri Shostakovich (1906-1975) by examining harmony and voice leading from a Schenkerian perspective. Chapter 1 examines Shostakovich's realignment with socialist aesthetic ideologies in 1936, demonstrating how traditional idioms and forms in works written after the Pravda attacks enable a wider range of access points for tonal analysis. Methodologies derived from Russian theoretical thought such as modal lowering and modal derivation address surface relations; however, they do not make connections between local modal elements and large-scale tonal structure. Analyses by David Fanning and Sarah Marlowe demonstrate that while modal and chromatic behaviors are exhibited at foreground levels, these events represent post-tonal intensifications of customary idioms that unfold within broader tonal designs. Schenkerian processes of mixture and tonicization illustrate how Shostakovich's modal-chromatic qualities can be contextualized within tonal frameworks.Building on the modal and tonal analytical models from Chapter 1, Chapter 2 investigates how selected passages from Shostakovich's music articulate tonal structures in a variety of post-1936 works, including the second movement of String Quartet No. 9, the fourth movement of String Quartet No. 3, and Prelude Nos. 4, 13, and 22 from the Twenty-Four Preludes and Fugues, op. 87. Schenkerian theory contextualizes modal and chromatic inflections in String Quartet Nos. 3 and 9 within deeper levels of counterpoint and through the processes of simple, secondary, and double mixture. In Prelude Nos. 4, 13, and 22, Shostakovich's emulation of Baroque contrapuntal techniques produces foreground and middleground structures that resonate with customary linear models in the Bach-to-Brahms tradition. Although static structures are generated in Prelude Nos. 4 and 22, prolongational techniques express their monotonal designs.Chapter 3 examines the tonal structure of the Passacaglia from Shostakovich's Violin Concerto No. 1. At the middleground level, this movement produces a static bass line and an incomplete Urlinie (5-4-3). The passacaglia rotations navigate tonal pathways through goal-oriented counterpoint, motivic confirmation of structural thirds, and local bass arpeggiations. The ground bass expands the tonic through surface-level arpeggiations, interior 5-1 motions, and the linear idiom 5-6-5 above the tonic pedal, producing a static harmonic state in the first half of the middleground. In the second half, the modulatory function of the cadenza is expressed as it transitions into the last movement, illustrating how chromatic voice leading bridges the F minor key area of the Passacaglia with A minor. Although Schenkerian theory does not accommodate modulations at the structural level, Chapter 3 introduces a model for contextualizing harmony and voice leading in Shostakovich's attacca transitions.The second case study explores tonal expressions in the second movement of Symphony No. 12. Chapter 4 demonstrates how modal lowering and mixture generate chromatic elements in the second movement's themes, motives, and secondary key areas. The modally lowered theme establishes a monotonal state through third motions, tonic arpeggiations, and 5-6-5 gestures. A linear framework for the second movement elucidates how its secondary key areas function as chromatic embellishments of standard contrapuntal procedures. A Schenkerian approach illustrates tonal closure within the obligatory register, producing a melodic structure that resonates with customary Urlinien.Lastly, Chapter 5 analyzes selected passages from Shostakovich's "formalist" works in 1927-1936, including opera Lady Macbeth of the Mtsensk District, the first movement of Symphony No. 4 in C Minor, and Symphony No. 2. These works present challenges to Schenkerian methodologies in that they provide fewer access points for tonal orientations. Analysis of tonal structure and voice leading in these pieces is complicated by mutable passages that generate subsets of pitches that compete for centricity, counterpoint that lacks directed motion toward a tonal goal (non-functional counterpoint), and melodies with modal orientations that are less responsive to tonal methodology. The studies provide a foundation for tonal applications to Shostakovich's music. Ultimately, the analyses demonstrate that many components of Shostakovich's compositional process are addressed by a Schenkerian approach.

English

ISBN: 9798382789163Subjects--Topical Terms:

547155
Music theory.
Subjects--Index Terms:

Russian modal theory

Schenkerian Approaches to the Music of Dmitri Shostakovich /
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520 $a This study explores tonal states in the music of Dmitri Shostakovich (1906-1975) by examining harmony and voice leading from a Schenkerian perspective. Chapter 1 examines Shostakovich's realignment with socialist aesthetic ideologies in 1936, demonstrating how traditional idioms and forms in works written after the Pravda attacks enable a wider range of access points for tonal analysis. Methodologies derived from Russian theoretical thought such as modal lowering and modal derivation address surface relations; however, they do not make connections between local modal elements and large-scale tonal structure. Analyses by David Fanning and Sarah Marlowe demonstrate that while modal and chromatic behaviors are exhibited at foreground levels, these events represent post-tonal intensifications of customary idioms that unfold within broader tonal designs. Schenkerian processes of mixture and tonicization illustrate how Shostakovich's modal-chromatic qualities can be contextualized within tonal frameworks.Building on the modal and tonal analytical models from Chapter 1, Chapter 2 investigates how selected passages from Shostakovich's music articulate tonal structures in a variety of post-1936 works, including the second movement of String Quartet No. 9, the fourth movement of String Quartet No. 3, and Prelude Nos. 4, 13, and 22 from the Twenty-Four Preludes and Fugues, op. 87. Schenkerian theory contextualizes modal and chromatic inflections in String Quartet Nos. 3 and 9 within deeper levels of counterpoint and through the processes of simple, secondary, and double mixture. In Prelude Nos. 4, 13, and 22, Shostakovich's emulation of Baroque contrapuntal techniques produces foreground and middleground structures that resonate with customary linear models in the Bach-to-Brahms tradition. Although static structures are generated in Prelude Nos. 4 and 22, prolongational techniques express their monotonal designs.Chapter 3 examines the tonal structure of the Passacaglia from Shostakovich's Violin Concerto No. 1. At the middleground level, this movement produces a static bass line and an incomplete Urlinie (5-4-3). The passacaglia rotations navigate tonal pathways through goal-oriented counterpoint, motivic confirmation of structural thirds, and local bass arpeggiations. The ground bass expands the tonic through surface-level arpeggiations, interior 5-1 motions, and the linear idiom 5-6-5 above the tonic pedal, producing a static harmonic state in the first half of the middleground. In the second half, the modulatory function of the cadenza is expressed as it transitions into the last movement, illustrating how chromatic voice leading bridges the F minor key area of the Passacaglia with A minor. Although Schenkerian theory does not accommodate modulations at the structural level, Chapter 3 introduces a model for contextualizing harmony and voice leading in Shostakovich's attacca transitions.The second case study explores tonal expressions in the second movement of Symphony No. 12. Chapter 4 demonstrates how modal lowering and mixture generate chromatic elements in the second movement's themes, motives, and secondary key areas. The modally lowered theme establishes a monotonal state through third motions, tonic arpeggiations, and 5-6-5 gestures. A linear framework for the second movement elucidates how its secondary key areas function as chromatic embellishments of standard contrapuntal procedures. A Schenkerian approach illustrates tonal closure within the obligatory register, producing a melodic structure that resonates with customary Urlinien.Lastly, Chapter 5 analyzes selected passages from Shostakovich's "formalist" works in 1927-1936, including opera Lady Macbeth of the Mtsensk District, the first movement of Symphony No. 4 in C Minor, and Symphony No. 2. These works present challenges to Schenkerian methodologies in that they provide fewer access points for tonal orientations. Analysis of tonal structure and voice leading in these pieces is complicated by mutable passages that generate subsets of pitches that compete for centricity, counterpoint that lacks directed motion toward a tonal goal (non-functional counterpoint), and melodies with modal orientations that are less responsive to tonal methodology. The studies provide a foundation for tonal applications to Shostakovich's music. Ultimately, the analyses demonstrate that many components of Shostakovich's compositional process are addressed by a Schenkerian approach.
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653 $a Shostakovich, Dmitri
653 $a Triadic post-tonality
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