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On C. P. E. Bach's Late Keyboard Son...

Li, Yan Kit,

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On C. P. E. Bach's Late Keyboard Sonatas: Towards a Flexible Formal Analytical Approach /

Record Type:	Electronic resources : Monograph/item
Title/Author:	On C. P. E. Bach's Late Keyboard Sonatas: Towards a Flexible Formal Analytical Approach // Yan Kit Li.
Author:	Li, Yan Kit,
Description:	1 electronic resource (299 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 86-03, Section: A.
Contained By:	Dissertations Abstracts International86-03A.
Subject:	Music. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=31628931
ISBN:	9798384035251

On C. P. E. Bach's Late Keyboard Sonatas: Towards a Flexible Formal Analytical Approach /
Li, Yan Kit,

On C. P. E. Bach's Late Keyboard Sonatas: Towards a Flexible Formal Analytical Approach /Yan Kit Li. - 1 electronic resource (299 pages)

Source: Dissertations Abstracts International, Volume: 86-03, Section: A.

This dissertation proposes a flexible formal analytical approach to C. P. E. Bach's late keyboard sonatas (Hamburg period, 1768-1788). This approach offers a solution to a vexing dilemma, namely, the irreconcilability between form (in its dialogue with sonata genre types) and content (which need not align with generic expectations) in these sonatas. The dilemma stems from Bach's fantasia-like treatments in his sonatas. The fantasia-like treatments are a source of eccentricities and digressions in Bach's sonatas from which can arise an incongruence between musical details and formal expectations.Generally, there are two different analytical approaches to this dilemma. The first is to restrict the analytical scope to clear-cut, genre-conforming, formal examples. The second is to focus on idiosyncratic details neglecting their significance to any formal process in its dialogue with the sonata genre. Neither approach reveals a dynamic relationship between the idiosyncratic details and the formal process.To underscore this dynamic relationship, I argue that Mikhail Bakhtin's concept of dialogized heteroglossia recognizes the role of incongruent details in shaping the formal process. By means of dialogized heteroglossia, one is able to bridge the gulf between form and content because this concept recognizes what I call a non-mechanical view of unity and diversity, a topic discussed variously in the second half of the 18th century in Western Europe.The non-mechanical view of unity and diversity offers a way to conceive unity by involving a bottom-up approach. It rejects an all-encompassing external structure that encapsulates hierarchical relationships between the general and the particular, respecting the properties of the musical materials. Dialogized heteroglossia captures the interanimation among the details and acquires meanings that arise from the materials' mutual illumination. Through a close inspection of how the incongruent details participate in shaping the formal process, a possible logical thread becomes evident by disclosing hidden similarities among the incongruities.My analytical methodology involves a three-phase procedure. Phase one is a phenomenological report that reflects the diachronic musical experience. Phase two is a similarity matrix that visualizes dialogized heteroglossia as a systematic comparison of every musical module with every other musical module. Phase three is an interpretation that elucidates eccentricities.I have selected three sonata movements as case studies: Sonata in A major, Wq. 56/6, iii (1780); the Sonata in G major, Wq. 56/2, iii (1774); and the Sonata in C major, Wq. 65/47, i (1775). Each of these three sonata movements involves a mix of styles. Structurally, they share a common feature: a cantabile passage framed in the middle of the movement (Wq. 56/6) or rotation (Wq. 56/2 and Wq. 65/47). Though all these cantabile passages are sandwiched by passages in fantasia style, they relate to their surrounding musical materials in different ways. Other Bakhtinian literary concepts brought into discussion include double-voiced discourse in Wq. 56/6, the role of the fool in the novel in Wq. 56/2, and genre theory in Wq. 65/47. These Bakhtinian insights help to disclose the musical irony in Bach's late keyboard sonatas.

English

ISBN: 9798384035251Subjects--Topical Terms:

516178
Music.
Subjects--Index Terms:

Bach, C. P. E.

On C. P. E. Bach's Late Keyboard Sonatas: Towards a Flexible Formal Analytical Approach /
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