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Form, Punctuation, and Voice Leading in W. A. Mozart's Concerto First Movements.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Form, Punctuation, and Voice Leading in W. A. Mozart's Concerto First Movements./
作者:	Smith, Eron Frances.
面頁冊數:	1 online resource (454 pages)
附註:	Source: Dissertations Abstracts International, Volume: 84-07, Section: A.
Contained By:	Dissertations Abstracts International84-07A.
標題:	Music theory. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=29994228click for full text (PQDT)
ISBN:	9798363519680

Form, Punctuation, and Voice Leading in W. A. Mozart's Concerto First Movements.
Smith, Eron Frances.

Form, Punctuation, and Voice Leading in W. A. Mozart's Concerto First Movements. - 1 online resource (454 pages)

Source: Dissertations Abstracts International, Volume: 84-07, Section: A.

Thesis (Ph.D.)--University of Rochester, 2022.

Includes bibliographical references

This dissertation uses Mozart's concerto first movements as a lens through which to study formal organization, punctuation, large-scale voice-leading, and solo-ensemble relationships. It proposes a concerto-centric set of form labels, reframes preparation and closure in terms of "punctuation mark" analogies, explores the possibility of "diffractive" voice-leading hierarchy (i.e., hierarchy that does not require one-to-one correspondence between structural levels), and applies these analytical technologies in three full-movement analyses of Mozart's Horn Concerto no. 2 in E-flat major, K. 417/I, Concerto for Two Pianos in E-flat major, K. 365/I, and Piano Concerto no. 20 in D minor, K. 466/I.Chapters 1-3 make up the first part of the dissertation, exploring the relationships of solo and ensemble, thematic/display/cadential sections, and preparation and arrival. Chapter 1 outlines a new suite of concerto form labels that embrace display as a distinct formal entity and specifically indicate the instrumentation of reprised sections. Chapter 2 introduces the extended analogy of punctuation marks (dot, exclamation, ellipsis, comma, question mark, etc.) to differentiate between "syntactically" equivocal cadences and section boundaries that correlate with formal roles in Mozart's writing. Chapter 3 demonstrates the applicability of these concepts through three full-movement analyses.Chapters 4-6 comprise the second part of the dissertation, dedicated to voice-leading questions related to Mozart's style. After an account of the relative rarity of the concerto within the Schenkerian primary and secondary literature, Chapter 4 problematizes the assumption of one-to-one correspondence between background, middleground, and foreground levels of voice-leading analyses, introducing the concept of "diffractive" voice-leading hierarchy. This chapter's focus is multiple hierarchically equal linear progressions at the same structural level, defended from both a theoretical and musical perspective. Chapter 5 delves into how a diffractive understanding of tonal hierarchy also allows for different types of coexisting primary tones within the same analysis, reaffirming the "background" as an abstraction rather than a necessarily concrete presence on the surface of a piece of tonal music. Chapter 6 then retraces the same analyses from Chapter 3, this time from a voice-leading perspective.This dissertation addresses a variety of different intersecting relationships present in the concerto and in canonic music theory, setting the stage for new avenues in the theory classroom, the conference room, and beyond.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9798363519680Subjects--Topical Terms:

547155
Music theory.
Subjects--Index Terms:

ConcertoIndex Terms--Genre/Form:

542853
Electronic books.

Form, Punctuation, and Voice Leading in W. A. Mozart's Concerto First Movements.
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520 $a This dissertation uses Mozart's concerto first movements as a lens through which to study formal organization, punctuation, large-scale voice-leading, and solo-ensemble relationships. It proposes a concerto-centric set of form labels, reframes preparation and closure in terms of "punctuation mark" analogies, explores the possibility of "diffractive" voice-leading hierarchy (i.e., hierarchy that does not require one-to-one correspondence between structural levels), and applies these analytical technologies in three full-movement analyses of Mozart's Horn Concerto no. 2 in E-flat major, K. 417/I, Concerto for Two Pianos in E-flat major, K. 365/I, and Piano Concerto no. 20 in D minor, K. 466/I.Chapters 1-3 make up the first part of the dissertation, exploring the relationships of solo and ensemble, thematic/display/cadential sections, and preparation and arrival. Chapter 1 outlines a new suite of concerto form labels that embrace display as a distinct formal entity and specifically indicate the instrumentation of reprised sections. Chapter 2 introduces the extended analogy of punctuation marks (dot, exclamation, ellipsis, comma, question mark, etc.) to differentiate between "syntactically" equivocal cadences and section boundaries that correlate with formal roles in Mozart's writing. Chapter 3 demonstrates the applicability of these concepts through three full-movement analyses.Chapters 4-6 comprise the second part of the dissertation, dedicated to voice-leading questions related to Mozart's style. After an account of the relative rarity of the concerto within the Schenkerian primary and secondary literature, Chapter 4 problematizes the assumption of one-to-one correspondence between background, middleground, and foreground levels of voice-leading analyses, introducing the concept of "diffractive" voice-leading hierarchy. This chapter's focus is multiple hierarchically equal linear progressions at the same structural level, defended from both a theoretical and musical perspective. Chapter 5 delves into how a diffractive understanding of tonal hierarchy also allows for different types of coexisting primary tones within the same analysis, reaffirming the "background" as an abstraction rather than a necessarily concrete presence on the surface of a piece of tonal music. Chapter 6 then retraces the same analyses from Chapter 3, this time from a voice-leading perspective.This dissertation addresses a variety of different intersecting relationships present in the concerto and in canonic music theory, setting the stage for new avenues in the theory classroom, the conference room, and beyond.
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