東華大學圖書館 |

From Musical Work to Model of Musical Structure: The Chorale in American Music Theory /

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	From Musical Work to Model of Musical Structure: The Chorale in American Music Theory // William van Geest.
作者:	van Geest, William,
面頁冊數:	1 electronic resource (557 pages)
附註:	Source: Dissertations Abstracts International, Volume: 86-03, Section: A.
Contained By:	Dissertations Abstracts International86-03A.
標題:	History. -
電子資源:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=31631429
ISBN:	9798384044475

From Musical Work to Model of Musical Structure: The Chorale in American Music Theory /
van Geest, William,

From Musical Work to Model of Musical Structure: The Chorale in American Music Theory /William van Geest. - 1 electronic resource (557 pages)

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

This dissertation critically examines the chorale in American music theory. Part I examines the present day and Part II is historical. I first outline a theoretical polarity between musical works and music-theoretical objects, illustrating this through editorial decisions in musical scores of a four-part chorale harmonization by Johann Sebastian Bach (Chapter 2). I then present the results of a survey of American theorists and follow-up interviews. I show the field's wide use of chorales, particularly Bach's settings in early undergraduate instruction, and that theorists consider these pieces illustrative of fundamental harmony and voice-leading principles (Chapter 3). Chapter 4 undertakes a corpus study of undergraduate music theory textbooks, showing that four-part chorale harmonizations by Bach constitute a substantial proportion of musical examples, and that authors' idiosyncratic visual and aural presentation of these pieces, already examined in Chapter 2, casts them as music-theoretical objects. I also describe the conceptual haze linking these pieces with four-part vocal writing and the mediating role of "chorale style," at once a musical texture, a notation for illustrating harmony and voice-leading principles, and a target texture for reductions of musical works; through this resemblance, Bach's four-part chorale settings become images of musical structure.In Part II, I examine the origins of these practices and beliefs surrounding Bach's chorale settings. Chapter 5 shows how not only the unusual notation in present-day practice in fact derives from the first edition, but also the approach of casting them as music-theoretical objects. I also show how Johann Philipp Kirnberger, despite his chorale-centric approach, his amenable conception of musical structure, and his belief in Bach's settings as models of musical structure, declines Carl Philipp Emanuel Bach's call to employ them as such in his own curriculum. Chapter 6 studies a similar absence in Felix Mendelssohn-Bartholdy's otherwise chorale-intensive compositional instruction and a return by his teacher Carl Friedrich Zelter to conceiving of Bach's chorale settings as musical works grounded in a specific liturgical context. In Chapter 7, I trace Carl Ferdinand Becker's attempts to present these pieces as models for four-part conception against new information challenging this immediately following the Bach Revival, and I describe the chorale's institutionalization at the Leipzig Conservatory under Ernst Friedrich Richter-but again, absent Bach's settings. I then describe the chorale's naturalization in the United States through adaptations and translation of German music-theoretical writings and the efforts of Richter's students (Chapter 8). I reveal that the notion of treating Bach's chorale settings as musical models was available to Americans already in the 1850s, but unpursued; authors omitted them as just beyond the realm of harmony studies. Chapter 9 shows how Donald Tweedy's 1928 textbook, the earliest recorded music-theory curriculum based upon Bach's chorale settings, does not yet treat these pieces as music-theoretical objects. While for Heinrich Schenker, Bach's chorale settings are masterworks of free composition, his American disciples present them as repositories of ultimately universal harmonic practice and cement their place in the bridge from abstract music-theoretical principles to "real" music, a position that characterizes present-day American music theory. The relatively late assumption of this position contradicts theorists' perceptions that studying Bach's chorale settings as models is a long tradition; in fact, this is part of the field's mythology.

English

ISBN: 9798384044475Subjects--Topical Terms:

516518
History.
Subjects--Index Terms:

Chorale

From Musical Work to Model of Musical Structure: The Chorale in American Music Theory /
LDR:05227nmm a22004573i 4500 001 2436892
005 20251117053647.5
006 m o d
007 cr|nu||||||||
008 261011s2024 miu||||||m |||||||eng d
020 $a 9798384044475
035 $a (MiAaPQD)AAI31631429
035 $a (MiAaPQD)umichrackham005843
035 $a AAI31631429
040 $a MiAaPQD $b eng $c MiAaPQD $e rda
100 1 $a van Geest, William, $e author. $3 3827712
245 1 0 $a From Musical Work to Model of Musical Structure: The Chorale in American Music Theory / $c William van Geest.
264 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2024
300 $a 1 electronic resource (557 pages)
336 $a text $b txt $2 rdacontent
337 $a computer $b c $2 rdamedia
338 $a online resource $b cr $2 rdacarrier
500 $a Source: Dissertations Abstracts International, Volume: 86-03, Section: A.
500 $a Advisors: Martin, Nathan Committee members: Sears, Elizabeth; Korsyn, Kevin E.; Mengozzi, Stefano.
502 $b Ph.D. $c University of Michigan $d 2024.
520 $a This dissertation critically examines the chorale in American music theory. Part I examines the present day and Part II is historical. I first outline a theoretical polarity between musical works and music-theoretical objects, illustrating this through editorial decisions in musical scores of a four-part chorale harmonization by Johann Sebastian Bach (Chapter 2). I then present the results of a survey of American theorists and follow-up interviews. I show the field's wide use of chorales, particularly Bach's settings in early undergraduate instruction, and that theorists consider these pieces illustrative of fundamental harmony and voice-leading principles (Chapter 3). Chapter 4 undertakes a corpus study of undergraduate music theory textbooks, showing that four-part chorale harmonizations by Bach constitute a substantial proportion of musical examples, and that authors' idiosyncratic visual and aural presentation of these pieces, already examined in Chapter 2, casts them as music-theoretical objects. I also describe the conceptual haze linking these pieces with four-part vocal writing and the mediating role of "chorale style," at once a musical texture, a notation for illustrating harmony and voice-leading principles, and a target texture for reductions of musical works; through this resemblance, Bach's four-part chorale settings become images of musical structure.In Part II, I examine the origins of these practices and beliefs surrounding Bach's chorale settings. Chapter 5 shows how not only the unusual notation in present-day practice in fact derives from the first edition, but also the approach of casting them as music-theoretical objects. I also show how Johann Philipp Kirnberger, despite his chorale-centric approach, his amenable conception of musical structure, and his belief in Bach's settings as models of musical structure, declines Carl Philipp Emanuel Bach's call to employ them as such in his own curriculum. Chapter 6 studies a similar absence in Felix Mendelssohn-Bartholdy's otherwise chorale-intensive compositional instruction and a return by his teacher Carl Friedrich Zelter to conceiving of Bach's chorale settings as musical works grounded in a specific liturgical context. In Chapter 7, I trace Carl Ferdinand Becker's attempts to present these pieces as models for four-part conception against new information challenging this immediately following the Bach Revival, and I describe the chorale's institutionalization at the Leipzig Conservatory under Ernst Friedrich Richter-but again, absent Bach's settings. I then describe the chorale's naturalization in the United States through adaptations and translation of German music-theoretical writings and the efforts of Richter's students (Chapter 8). I reveal that the notion of treating Bach's chorale settings as musical models was available to Americans already in the 1850s, but unpursued; authors omitted them as just beyond the realm of harmony studies. Chapter 9 shows how Donald Tweedy's 1928 textbook, the earliest recorded music-theory curriculum based upon Bach's chorale settings, does not yet treat these pieces as music-theoretical objects. While for Heinrich Schenker, Bach's chorale settings are masterworks of free composition, his American disciples present them as repositories of ultimately universal harmonic practice and cement their place in the bridge from abstract music-theoretical principles to "real" music, a position that characterizes present-day American music theory. The relatively late assumption of this position contradicts theorists' perceptions that studying Bach's chorale settings as models is a long tradition; in fact, this is part of the field's mythology.
546 $a English
590 $a School code: 0127
650 4 $a History. $3 516518
650 4 $a Music. $3 516178
650 4 $a Music education. $3 3168367
650 4 $a Music theory. $3 547155
653 $a Chorale
653 $a Musical works
653 $a Voice-leading principles
653 $a Harmonization
653 $a Musical structure
690 $a 0413
690 $a 0578
690 $a 0522
690 $a 0221
710 2 $a University of Michigan. $b Music: Theory. $e degree granting institution. $3 3827713
720 1 $a Martin, Nathan $e degree supervisor.
773 0 $t Dissertations Abstracts International $g 86-03A.
790 $a 0127
791 $a Ph.D.
792 $a 2024
856 4 0 $u https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=31631429