東華大學圖書館 |

語系: 繁體中文

說明(常見問題)

回圖書館首頁

手機版館藏查詢

登入

回首頁

切換: 標籤 | MARC模式 | ISBD

FindBook

Google Book

Amazon

博客來

An Examination of Harmony and Form in Schoenberg's Atonal Music.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	An Examination of Harmony and Form in Schoenberg's Atonal Music./
作者:	Hier, David.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2021,
面頁冊數:	398 p.
附註:	Source: Dissertations Abstracts International, Volume: 83-03, Section: A.
Contained By:	Dissertations Abstracts International83-03A.
標題:	Music theory. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28496124
ISBN:	9798535589893

An Examination of Harmony and Form in Schoenberg's Atonal Music.
Hier, David.

An Examination of Harmony and Form in Schoenberg's Atonal Music. - Ann Arbor : ProQuest Dissertations & Theses, 2021 - 398 p.

Source: Dissertations Abstracts International, Volume: 83-03, Section: A.

Thesis (Ph.D.)--University of Rochester, 2021.

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

While recent theories have adeptly proposed motivic and transformational structures for Arnold Schoenberg's atonal music (roughly 1909-1916), few have concentrated on repertory-specific norms for counterpoint and harmony and their relationship to phrase structure. I argue that a harmonic and contrapuntal structure unique to Schoenberg's atonal period, but first outlined in his tonal works, effects formal functions in conjunction with motivic process. I begin by documenting the weakening of tonality in Schoenberg's early works. I draw primarily on Riemann's theory of tonal functions and explore the contrapuntal ramifications of Daniel Harrison's elaborations of Riemann's theory by proposing a dynamic "chord catalog" containing the changing consonant statuses of sonorities. I argue that at the same time as the number of sonorities deemed consonant in Schoenberg's tonal output increases, the prevalence of the consonant tonal function, tonic, diminishes. Once all sonorities are consonant and tonic disappears, a new harmonic mechanism based on voice leading distances replaces tonal function.I call the novel harmonic structure "chromatic function." It consists of two structural voices diverging or converging, and progressing by three different voice leading sizes-semitone (S), whole tone (W), and other intervals (N)-arranged to form a normative cadence, S-W-N-S. I develop techniques for analyzing disruptions and elaborations of the chromatic structure and connect them to a theory of motivic process founded upon changes in degrees of distinctiveness. The chromatic and motivic structures affect the five formal functions of phrases and larger thematic units-opening, medial, closing, introductory, and epilogic. I conclude by applying my theoretical and analytical principles to opp. 19/1, 21/1, and 16/5 in order to illustrate the mechanics of the theory, how my theory influences the interpretation of text and music relationships, and how my approach processes complex pieces without obvious formal designs.

ISBN: 9798535589893Subjects--Topical Terms:

547155
Music theory.
Subjects--Index Terms:

Atonal Music

An Examination of Harmony and Form in Schoenberg's Atonal Music.
LDR:03162nmm a2200373 4500 001 2352779
005 20221205085602.5
008 241004s2021 ||||||||||||||||| ||eng d
020 $a 9798535589893
035 $a (MiAaPQ)AAI28496124
035 $a AAI28496124
040 $a MiAaPQ $c MiAaPQ
100 1 $a Hier, David. $0 (orcid)0000-0001-8966-4476 $3 3692438
245 1 3 $a An Examination of Harmony and Form in Schoenberg's Atonal Music.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2021
300 $a 398 p.
500 $a Source: Dissertations Abstracts International, Volume: 83-03, Section: A.
500 $a Advisor: Klumpenhouwer, Henry.
502 $a Thesis (Ph.D.)--University of Rochester, 2021.
506 $a This item must not be sold to any third party vendors.
520 $a While recent theories have adeptly proposed motivic and transformational structures for Arnold Schoenberg's atonal music (roughly 1909-1916), few have concentrated on repertory-specific norms for counterpoint and harmony and their relationship to phrase structure. I argue that a harmonic and contrapuntal structure unique to Schoenberg's atonal period, but first outlined in his tonal works, effects formal functions in conjunction with motivic process. I begin by documenting the weakening of tonality in Schoenberg's early works. I draw primarily on Riemann's theory of tonal functions and explore the contrapuntal ramifications of Daniel Harrison's elaborations of Riemann's theory by proposing a dynamic "chord catalog" containing the changing consonant statuses of sonorities. I argue that at the same time as the number of sonorities deemed consonant in Schoenberg's tonal output increases, the prevalence of the consonant tonal function, tonic, diminishes. Once all sonorities are consonant and tonic disappears, a new harmonic mechanism based on voice leading distances replaces tonal function.I call the novel harmonic structure "chromatic function." It consists of two structural voices diverging or converging, and progressing by three different voice leading sizes-semitone (S), whole tone (W), and other intervals (N)-arranged to form a normative cadence, S-W-N-S. I develop techniques for analyzing disruptions and elaborations of the chromatic structure and connect them to a theory of motivic process founded upon changes in degrees of distinctiveness. The chromatic and motivic structures affect the five formal functions of phrases and larger thematic units-opening, medial, closing, introductory, and epilogic. I conclude by applying my theoretical and analytical principles to opp. 19/1, 21/1, and 16/5 in order to illustrate the mechanics of the theory, how my theory influences the interpretation of text and music relationships, and how my approach processes complex pieces without obvious formal designs.
590 $a School code: 0188.
650 4 $a Music theory. $3 547155
650 4 $a Genre. $3 2191767
650 4 $a Harmonic analysis. $3 555704
650 4 $a Atonality. $3 613730
650 4 $a Logic. $3 529544
653 $a Atonal Music
653 $a Atonality
653 $a Chromatic Function
653 $a Form
653 $a Harmony
653 $a Schoenberg
690 $a 0221
690 $a 0395
710 2 $a University of Rochester. $b Eastman School of Music. $3 2105259
773 0 $t Dissertations Abstracts International $g 83-03A.
790 $a 0188
791 $a Ph.D.
792 $a 2021
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28496124