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Thematic Idiosyncrasy in Prokofiev's...

Perry, Rebecca A.

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Thematic Idiosyncrasy in Prokofiev's Early Sonata Forms.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Thematic Idiosyncrasy in Prokofiev's Early Sonata Forms./
作者:	Perry, Rebecca A.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2017,
面頁冊數:	195 p.
附註:	Source: Dissertation Abstracts International, Volume: 78-11(E), Section: A.
Contained By:	Dissertation Abstracts International78-11A(E).
標題:	Music. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10632538
ISBN:	9780355027877

Thematic Idiosyncrasy in Prokofiev's Early Sonata Forms.
Perry, Rebecca A.

Thematic Idiosyncrasy in Prokofiev's Early Sonata Forms. - Ann Arbor : ProQuest Dissertations & Theses, 2017 - 195 p.

Source: Dissertation Abstracts International, Volume: 78-11(E), Section: A.

Thesis (Ph.D.)--Yale University, 2017.

While commentators have shown particular interest in Prokofiev's harmonic language and the cultural and political milieu in which it took shape, other aspects of his musical idiom---especially his formal practice---have often been dismissed as uninventive and overly reliant on classical models. Commentators have referred to his works, in passing, as displaying a "comparative lack of concern about innovation in form" (Malcolm Brown) or adhering to "stereotyped formal patterns straight out of a textbook" (Richard Taruskin).

ISBN: 9780355027877Subjects--Topical Terms:

516178
Music.

Thematic Idiosyncrasy in Prokofiev's Early Sonata Forms.
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500 $a Source: Dissertation Abstracts International, Volume: 78-11(E), Section: A.
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520 $a While commentators have shown particular interest in Prokofiev's harmonic language and the cultural and political milieu in which it took shape, other aspects of his musical idiom---especially his formal practice---have often been dismissed as uninventive and overly reliant on classical models. Commentators have referred to his works, in passing, as displaying a "comparative lack of concern about innovation in form" (Malcolm Brown) or adhering to "stereotyped formal patterns straight out of a textbook" (Richard Taruskin).
520 $a While it is indisputable that Prokofiev remained in a close dialogue with classical structures throughout his career, such cursory dismissals bypass much that is unorthodox and connotatively rich in the composer's formal strategies. This dissertation explores a number of these subtleties, presenting a series of four analytical essays that investigate questions of thematic process and formal idiosyncrasy in Prokofiev's early sonata forms (1909-1923). The thematic anomalies foregrounded in these analyses---including Prokofiev's interpolations, superimpositions, truncations, and functional displacements---are shown to greatly complicate the larger structures in which they appear, inviting reassessment of his work within the sonata genre.
520 $a In addition to contributing to a fuller, more rounded portrait of Prokofiev's approach to musical composition, this study will allow us to better situate the composer historically, placing him in relation to a rich network of traditions with which he has previously been only marginally connected, including the nineteenth-century Russian symphonic tradition, fin de siecle Austro-German sonata practice, and the early-twentieth-century Franco-Russian avant-garde.
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