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How the Phrygian Final Lost Its Fina...

Hynes-Tawa, Liam Patrick.

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How the Phrygian Final Lost Its Finality.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	How the Phrygian Final Lost Its Finality./
作者:	Hynes-Tawa, Liam Patrick.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2020,
面頁冊數:	471 p.
附註:	Source: Dissertations Abstracts International, Volume: 82-12, Section: A.
Contained By:	Dissertations Abstracts International82-12A.
標題:	Music theory. -
電子資源:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=27741766
ISBN:	9798516918643

How the Phrygian Final Lost Its Finality.
Hynes-Tawa, Liam Patrick.

How the Phrygian Final Lost Its Finality. - Ann Arbor : ProQuest Dissertations & Theses, 2020 - 471 p.

Source: Dissertations Abstracts International, Volume: 82-12, Section: A.

Thesis (Ph.D.)--Yale University, 2020.

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

This dissertation investigates the history of Western European tonality through the prism of the Phrygian cadence and the Phrygian mode. It takes as its starting point the question of how a note that was expressly a final according to medieval and Renaissance modal theory was able to turn into something explicitly non-final-the goal of the "Phrygian half cadence"-in the eighteenth century, while maintaining the same sonic ingredients. By focusing on the modal final that is least able to act like a tonic in the common-practice tonal system, I ask and propose answers to the question of what tonicity and finality are, and how musicians' senses of these aspects of music have been differently realized across a broad span of time that reaches from the Middle Ages to the eighteenth century. I argue that the Phrygian mode's final in the music before common-practice tonality never functioned like a tonic, according to a particular definition of "tonic" laid out in the first chapter. Even as the features that would come to be identified with common-practice tonality became more and more common across the sixteenth and seventeenth centuries, the Phrygian final was never granted the gravitational pull of the other finals, at least as far as the music and the music theory of the periods in question can tell us.This argument unfolds in four chapters, though they are flanked by an introduction and epilogue that present as a frame a small picture of the cautionary comparative case of Japanese folk music, within which context Phrygian-like tonalities do not face the same complications that they do in Western European music. The nature and causes of these complications are explored in the main chapters themselves, in an arrangement that proceeds from more theoretical to more practical material-or from "words to works," as the titles of my chapters would have it. Chapter 1 focuses mostly on terminology. It attempts to track the often confusing and sometimes contradictory paths that words for denoting musical phenomena have traveled over the course of the many centuries in question. It also defines a few terms for my own use in later chapters of this particular dissertation, such that the ideas tenuously linked to these terms may become easier to inspect. Chapter 2's business is precisely that of focusing on the ideas denoted by the bewildering forest of terms outlined in the previous chapter, and it attempts to make those ideas more salient, and thus less hidden behind terminology. Chapter 3 then applies those terms and ideas to audible musical phenomena as they appear in a wide array of music, homing in on the musical phenomena that are most pertinent to the questions surrounding tonicity and the Phrygian final. Finally, chapter 4 is devoted entirely to the close analysis of five full pieces of music, each of which offers a different view of the Phrygian final, and each of which plays a part in the story of sixteenth- and seventeenth-century Phrygianity that the previous three chapters have told.

ISBN: 9798516918643Subjects--Topical Terms:

547155
Music theory.
Subjects--Index Terms:

Final

How the Phrygian Final Lost Its Finality.
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520 $a This dissertation investigates the history of Western European tonality through the prism of the Phrygian cadence and the Phrygian mode. It takes as its starting point the question of how a note that was expressly a final according to medieval and Renaissance modal theory was able to turn into something explicitly non-final-the goal of the "Phrygian half cadence"-in the eighteenth century, while maintaining the same sonic ingredients. By focusing on the modal final that is least able to act like a tonic in the common-practice tonal system, I ask and propose answers to the question of what tonicity and finality are, and how musicians' senses of these aspects of music have been differently realized across a broad span of time that reaches from the Middle Ages to the eighteenth century. I argue that the Phrygian mode's final in the music before common-practice tonality never functioned like a tonic, according to a particular definition of "tonic" laid out in the first chapter. Even as the features that would come to be identified with common-practice tonality became more and more common across the sixteenth and seventeenth centuries, the Phrygian final was never granted the gravitational pull of the other finals, at least as far as the music and the music theory of the periods in question can tell us.This argument unfolds in four chapters, though they are flanked by an introduction and epilogue that present as a frame a small picture of the cautionary comparative case of Japanese folk music, within which context Phrygian-like tonalities do not face the same complications that they do in Western European music. The nature and causes of these complications are explored in the main chapters themselves, in an arrangement that proceeds from more theoretical to more practical material-or from "words to works," as the titles of my chapters would have it. Chapter 1 focuses mostly on terminology. It attempts to track the often confusing and sometimes contradictory paths that words for denoting musical phenomena have traveled over the course of the many centuries in question. It also defines a few terms for my own use in later chapters of this particular dissertation, such that the ideas tenuously linked to these terms may become easier to inspect. Chapter 2's business is precisely that of focusing on the ideas denoted by the bewildering forest of terms outlined in the previous chapter, and it attempts to make those ideas more salient, and thus less hidden behind terminology. Chapter 3 then applies those terms and ideas to audible musical phenomena as they appear in a wide array of music, homing in on the musical phenomena that are most pertinent to the questions surrounding tonicity and the Phrygian final. Finally, chapter 4 is devoted entirely to the close analysis of five full pieces of music, each of which offers a different view of the Phrygian final, and each of which plays a part in the story of sixteenth- and seventeenth-century Phrygianity that the previous three chapters have told.
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