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Harmonic Refraction, Structural Thre...

Boeskool, Breighan Moira.

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Harmonic Refraction, Structural Thresholds, and the Chromatic Prism: A Neo-Riemannian Transformational and Geometrical Approach to the Music of Pyotr Ilyich Tchaikovsky.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Harmonic Refraction, Structural Thresholds, and the Chromatic Prism: A Neo-Riemannian Transformational and Geometrical Approach to the Music of Pyotr Ilyich Tchaikovsky./
Author:	Boeskool, Breighan Moira.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2020,
Description:	291 p.
Notes:	Source: Dissertations Abstracts International, Volume: 82-03, Section: A.
Contained By:	Dissertations Abstracts International82-03A.
Subject:	Music. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28108055
ISBN:	9798662545489

Harmonic Refraction, Structural Thresholds, and the Chromatic Prism: A Neo-Riemannian Transformational and Geometrical Approach to the Music of Pyotr Ilyich Tchaikovsky.
Boeskool, Breighan Moira.

Harmonic Refraction, Structural Thresholds, and the Chromatic Prism: A Neo-Riemannian Transformational and Geometrical Approach to the Music of Pyotr Ilyich Tchaikovsky. - Ann Arbor : ProQuest Dissertations & Theses, 2020 - 291 p.

Source: Dissertations Abstracts International, Volume: 82-03, Section: A.

Thesis (Ph.D.)--University of Cincinnati, 2020.

This item must not be sold to any third party vendors.

The music of Pyotr Ilyich Tchaikovsky, while fundamentally diatonic in structure, is striking in its use of surface and middleground chromatic procedures that lie outside the expected syntax of Classical tonality. This dissertation provides a thorough investigation of chromatic techniques and voice-leading strategies employed by Tchaikovsky, with a particular focus on how these methods engage and divert the expectations of functional diatonic and formal syntax to influence organizational structure and to achieve the work's expressive and narrative goals. Grounded in neo-Riemannian and transformational approaches and enhanced by graphical and geometric conceptions of musical space, I present extensive analytical readings of many of Tchaikovsky's works across a broad range of genres and time periods to demonstrate certain chromatic techniques as essential components of the composer's style. My primary objective is to broaden the applicability of the aforementioned methodological approaches, which have been applied extensively to the music of Schubert, Liszt, Brahms, and Wagner (and their contemporaries within the nineteenth-century Western traditions), to the repertoire of Tchaikovsky.Analytically, this dissertation represents an exploration of syntactic interaction (Cohn, 2012)-the distinctive interplay between the functional diatonic and chromatic syntactical lexicons-in the music of Tchaikovsky. To this end, my work establishes a specific metaphorical framework, to aid in defining the nature of Tchaikovsky's musical style: the notion of musical thresholds and their role in the process of harmonic refraction. The concept of a threshold, or being positioned in the space between two disparate realms, provides meaningful and straightforward imagery through which to consider the syntactical boundaries that exist between the functional diatonic and chromatic domains. Augmented triads, chromatic mediant relationships, augmented-sixth resolutions, and common tone structures are identified as structural thresholds of musical space. Harmonic refraction borrows terminology from the field of Physics related to prisms to describe marked moments on the musical surface that divert the expectations of functional syntax and subsequently engage the potentialities of the chromatic realm. Methodologically, this dissertation introduces Modified Disc Space, which offers a model of musical space that incorporates many of the most notable syntactical features of the chromatic domain within a single unified framework, including augmented and consonant triads, as well as all seventh chords.Ultimately, this dissertation elucidates two distinctive features of Tchaikovsky's style: that movement through the chromatic realm is consistently associated with transitional formal function, and that an extreme variety of chromatic strategies are employed to engage the chromatic domain. In this manner, this study establishes a framework for defining and modelling the nature of large-scale formal syntax within Tchaikovsky's music. Pieces that are discussed in this study include the Symphony No. 2 in C major, Symphony No. 4 in F minor, Symphony No. 5 in E minor, Piano Concerto No. 2 in G major, Violin Concerto in D major, The Storm, Op. 76, Romeo and Juliet, Eugene Onegin, Op. 24, Swan Lake, Op. 20, Sleeping Beauty, Op. 66, "Death", Op. 57, No. 5, and Humoresque, Op. 10, No. 2.

ISBN: 9798662545489Subjects--Topical Terms:

516178
Music.
Subjects--Index Terms:

Neo-Riemannian

Harmonic Refraction, Structural Thresholds, and the Chromatic Prism: A Neo-Riemannian Transformational and Geometrical Approach to the Music of Pyotr Ilyich Tchaikovsky.
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520 $a The music of Pyotr Ilyich Tchaikovsky, while fundamentally diatonic in structure, is striking in its use of surface and middleground chromatic procedures that lie outside the expected syntax of Classical tonality. This dissertation provides a thorough investigation of chromatic techniques and voice-leading strategies employed by Tchaikovsky, with a particular focus on how these methods engage and divert the expectations of functional diatonic and formal syntax to influence organizational structure and to achieve the work's expressive and narrative goals. Grounded in neo-Riemannian and transformational approaches and enhanced by graphical and geometric conceptions of musical space, I present extensive analytical readings of many of Tchaikovsky's works across a broad range of genres and time periods to demonstrate certain chromatic techniques as essential components of the composer's style. My primary objective is to broaden the applicability of the aforementioned methodological approaches, which have been applied extensively to the music of Schubert, Liszt, Brahms, and Wagner (and their contemporaries within the nineteenth-century Western traditions), to the repertoire of Tchaikovsky.Analytically, this dissertation represents an exploration of syntactic interaction (Cohn, 2012)-the distinctive interplay between the functional diatonic and chromatic syntactical lexicons-in the music of Tchaikovsky. To this end, my work establishes a specific metaphorical framework, to aid in defining the nature of Tchaikovsky's musical style: the notion of musical thresholds and their role in the process of harmonic refraction. The concept of a threshold, or being positioned in the space between two disparate realms, provides meaningful and straightforward imagery through which to consider the syntactical boundaries that exist between the functional diatonic and chromatic domains. Augmented triads, chromatic mediant relationships, augmented-sixth resolutions, and common tone structures are identified as structural thresholds of musical space. Harmonic refraction borrows terminology from the field of Physics related to prisms to describe marked moments on the musical surface that divert the expectations of functional syntax and subsequently engage the potentialities of the chromatic realm. Methodologically, this dissertation introduces Modified Disc Space, which offers a model of musical space that incorporates many of the most notable syntactical features of the chromatic domain within a single unified framework, including augmented and consonant triads, as well as all seventh chords.Ultimately, this dissertation elucidates two distinctive features of Tchaikovsky's style: that movement through the chromatic realm is consistently associated with transitional formal function, and that an extreme variety of chromatic strategies are employed to engage the chromatic domain. In this manner, this study establishes a framework for defining and modelling the nature of large-scale formal syntax within Tchaikovsky's music. Pieces that are discussed in this study include the Symphony No. 2 in C major, Symphony No. 4 in F minor, Symphony No. 5 in E minor, Piano Concerto No. 2 in G major, Violin Concerto in D major, The Storm, Op. 76, Romeo and Juliet, Eugene Onegin, Op. 24, Swan Lake, Op. 20, Sleeping Beauty, Op. 66, "Death", Op. 57, No. 5, and Humoresque, Op. 10, No. 2.
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