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Dramatic Arrivals, New Beginnings : ...

Cannon, Steven Craig,

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Dramatic Arrivals, New Beginnings : Dynamics, Orchestration, and the Moment of Recapitulation in the Nineteenth-Century Symphony /

Record Type:	Electronic resources : Monograph/item
Title/Author:	Dramatic Arrivals, New Beginnings : Dynamics, Orchestration, and the Moment of Recapitulation in the Nineteenth-Century Symphony // Steven Craig Cannon.
Author:	Cannon, Steven Craig,
Description:	1 electronic resource (612 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 86-04, Section: A.
Contained By:	Dissertations Abstracts International86-04A.
Subject:	18th century. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=31527048
ISBN:	9798342114721

Dramatic Arrivals, New Beginnings : Dynamics, Orchestration, and the Moment of Recapitulation in the Nineteenth-Century Symphony /
Cannon, Steven Craig,

Dramatic Arrivals, New Beginnings : Dynamics, Orchestration, and the Moment of Recapitulation in the Nineteenth-Century Symphony /Steven Craig Cannon. - 1 electronic resource (612 pages)

Source: Dissertations Abstracts International, Volume: 86-04, Section: A.

This thesis examines sonata-form movements from symphonies composed between 1800 and 1899, analyzing dynamic markings and orchestration at the beginning of the exposition, the end of the development, and the beginning of the recapitulation. The thesis divides into three large sections: first an introduction to the topic and an explanation of theoretical concepts (Chapters 1-2), then detailed analyses of the recapitulations in 14 symphonic sonata-form movements (Chapters 3-5), followed by a corpus study of 483 sonata-form movements from 256 nineteenth-century symphonies and a general conclusion (Chapter 6). The main goal of the project is to address two questions: in what ways do composers alter the main theme in recapitulations, and what formal function does the onset of recapitulation generally serve?Regarding the first question, recapitulatory alterations to dynamic markings and orchestration can intensify expositional material by means of louder markings and denser instrumentation or attenuate the sound with quieter markings and sparser instrumentation. In general, altered returns become more common later in the nineteenth century, with intensification by far the most common type of alteration.As for the second question, the onset of recapitulation typically expresses two contrasting functions. On the one hand, this moment starts a new formal section and thus serves as a relaunch or a new beginning; on the other hand, many movements also treat the moment of return as a point of arrival or a climactic goal. An important finding of the research is that the typical function changes during the nineteenth century: earlier composers tend to treat the start of the recapitulation more as a relaunch, but toward the end of the century the arrival function predominates.

English

ISBN: 9798342114721Subjects--Topical Terms:

1972979
18th century.

Dramatic Arrivals, New Beginnings : Dynamics, Orchestration, and the Moment of Recapitulation in the Nineteenth-Century Symphony /
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520 $a This thesis examines sonata-form movements from symphonies composed between 1800 and 1899, analyzing dynamic markings and orchestration at the beginning of the exposition, the end of the development, and the beginning of the recapitulation. The thesis divides into three large sections: first an introduction to the topic and an explanation of theoretical concepts (Chapters 1-2), then detailed analyses of the recapitulations in 14 symphonic sonata-form movements (Chapters 3-5), followed by a corpus study of 483 sonata-form movements from 256 nineteenth-century symphonies and a general conclusion (Chapter 6). The main goal of the project is to address two questions: in what ways do composers alter the main theme in recapitulations, and what formal function does the onset of recapitulation generally serve?Regarding the first question, recapitulatory alterations to dynamic markings and orchestration can intensify expositional material by means of louder markings and denser instrumentation or attenuate the sound with quieter markings and sparser instrumentation. In general, altered returns become more common later in the nineteenth century, with intensification by far the most common type of alteration.As for the second question, the onset of recapitulation typically expresses two contrasting functions. On the one hand, this moment starts a new formal section and thus serves as a relaunch or a new beginning; on the other hand, many movements also treat the moment of return as a point of arrival or a climactic goal. An important finding of the research is that the typical function changes during the nineteenth century: earlier composers tend to treat the start of the recapitulation more as a relaunch, but toward the end of the century the arrival function predominates.
520 $a Cette these examine les mouvements de forme sonate de symphonies composees entre 1800 et 1899 en analysant l'orchestration et les indications de nuances au debut de l'exposition, a la fin du developpement et au debut de la reexposition. La these se divise en trois parties : l'introduction du sujet et l'explication des concepts theoriques (chapitres 1 et 2), des analyses detaillees des reexpositions tirees de 14 mouvements symphoniques (chapitres 3 a 5), puis d'une etude de corpus incluant 483 mouvements de forme sonate provenant de 283 symphonies et d'une conclusion de la these (chapitre 6). L'objectif de ce projet est de repondre a deux questions centrales : de quelle facon les compositeurs modifient-ils le theme principal a son retour dans la reexposition et quelle fonction formelle occupe generalement le debut de la reexposition ?Concernant la premiere question, plusieurs types de modifications a l'orchestration et aux nuances sont possibles. La reexposition peut intensifier la musique de l'exposition au moyen d'une instrumentation plus dense ou des nuances plus fortes. En revanche, le son peut aussi etre attenue avec une instrumentation plus legere ou des nuances plus douces. En general, les modifications lors de la reexposition deviennent plus frequentes au cours du XIXe siecle et les intensifications sont de loin plus courantes que les attenuations.Quant a la deuxieme question, le debut de la reexposition exprime typiquement deux fonctions opposees. D'un cote, puisque ce moment demarre une nouvelle partie de la forme sonate, il agit comme un recommencement ou une relance. D'un autre cote, plusieurs mouvements traitent le moment de retour comme une arrivee ou un point culminant. Un resultat important de ces recherches demontre que cette fonction change au cours du XIXe siecle : au debut du siecle, les compositeurs traitent la reexposition comme une relance, mais vers la fin du siecle, la fonction d'arrivee predomine.
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