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

Formal Functions in Robert Schumann's Orchestral Sonata Forms.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Formal Functions in Robert Schumann's Orchestral Sonata Forms./
作者:	Poon, Matthew Min-Hei.
面頁冊數:	1 online resource (276 pages)
附註:	Source: Dissertations Abstracts International, Volume: 84-01, Section: A.
Contained By:	Dissertations Abstracts International84-01A.
標題:	Music theory. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28963316click for full text (PQDT)
ISBN:	9798834058670

Formal Functions in Robert Schumann's Orchestral Sonata Forms.
Poon, Matthew Min-Hei.

Formal Functions in Robert Schumann's Orchestral Sonata Forms. - 1 online resource (276 pages)

Source: Dissertations Abstracts International, Volume: 84-01, Section: A.

Thesis (Ph.D.)--University of Toronto (Canada), 2022.

Includes bibliographical references

Despite decades of growing interest into Schumann's large-scale works, literature on his four symphonies, six overtures, and Overture, Scherzo, and Finale remains sparse. Existent studies typically focus on the works' motivic transformations, cyclic recalls, tonal strategies, or rhetorical devices, with comparatively less attention being paid towards their formal designs. My dissertation addresses this gap by analyzing these works using William Caplin's theory of formal functions. My approach serves two purposes: first, it contributes to the growing subject of Schumann analysis; second, it informs ongoing extensions to form-functional theory by re-examining some of its tenets and exploring new categories. Chapter 1 reviews the analytical literature on Schumann since the mid-1980s and introduces some of the issues surrounding my methodology. Chapter 2 investigates formal syntax at the lowest levels in a re-consideration of two of Caplin's core principles. First, I promote a more nuanced view of Caplin's distinction between tight-knit and loose organization by tracing a single form-functional deviation, which I call a truncated presentation. Second, I propose additional categories of "teleological" and "suspended" to explain the absence of tonic prolongation in some of Schumann's initiating functions, a situation about which form-functional theory remains largely silent. In chapters 3 and 4, I apply Julian Horton's concept of "proliferation," which he coins to describe the increased complexity of nineteenth-century music. Expanding on Horton's concept, I suggest ways in which themes not only comprise additional functions, they feature unexpected categories and new hierarchical levels. Chapter 3 analyzes the larger themes that occur through proliferation, while chapter 4 explores its ability to blur boundaries between thematic units. These discussions problematize a persistent view that Schumann's themes are regular and predictable, as it is sometimes this very facet that facilitates the complexities proliferation demonstrates. In chapter 5, I analyze three overtures and one symphonic movement that have received less analytical attention. In addition to shedding light on these neglected compositions, these case studies allow me to apply the theories and categories developed in the preceding chapters. I then conclude with thoughts on Schumann's compositional style, and suggest how we might rethink our analytical approaches to his music.

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

Mode of access: World Wide Web

ISBN: 9798834058670Subjects--Topical Terms:

547155
Music theory.
Subjects--Index Terms:

Formal functionsIndex Terms--Genre/Form:

542853
Electronic books.

Formal Functions in Robert Schumann's Orchestral Sonata Forms.
LDR:03779nmm a2200361K 4500 001 2359010
005 20230906055247.5
006 m o d
007 cr mn ---uuuuu
008 241011s2022 xx obm 000 0 eng d
020 $a 9798834058670
035 $a (MiAaPQ)AAI28963316
035 $a AAI28963316
040 $a MiAaPQ $b eng $c MiAaPQ $d NTU
100 1 $a Poon, Matthew Min-Hei. $3 3699563
245 1 0 $a Formal Functions in Robert Schumann's Orchestral Sonata Forms.
264 0 $c 2022
300 $a 1 online resource (276 pages)
336 $a text $b txt $2 rdacontent
337 $a computer $b c $2 rdamedia
338 $a online resource $b cr $2 rdacarrier
500 $a Source: Dissertations Abstracts International, Volume: 84-01, Section: A.
500 $a Advisor: Vande Moortele, Steven.
502 $a Thesis (Ph.D.)--University of Toronto (Canada), 2022.
504 $a Includes bibliographical references
520 $a Despite decades of growing interest into Schumann's large-scale works, literature on his four symphonies, six overtures, and Overture, Scherzo, and Finale remains sparse. Existent studies typically focus on the works' motivic transformations, cyclic recalls, tonal strategies, or rhetorical devices, with comparatively less attention being paid towards their formal designs. My dissertation addresses this gap by analyzing these works using William Caplin's theory of formal functions. My approach serves two purposes: first, it contributes to the growing subject of Schumann analysis; second, it informs ongoing extensions to form-functional theory by re-examining some of its tenets and exploring new categories. Chapter 1 reviews the analytical literature on Schumann since the mid-1980s and introduces some of the issues surrounding my methodology. Chapter 2 investigates formal syntax at the lowest levels in a re-consideration of two of Caplin's core principles. First, I promote a more nuanced view of Caplin's distinction between tight-knit and loose organization by tracing a single form-functional deviation, which I call a truncated presentation. Second, I propose additional categories of "teleological" and "suspended" to explain the absence of tonic prolongation in some of Schumann's initiating functions, a situation about which form-functional theory remains largely silent. In chapters 3 and 4, I apply Julian Horton's concept of "proliferation," which he coins to describe the increased complexity of nineteenth-century music. Expanding on Horton's concept, I suggest ways in which themes not only comprise additional functions, they feature unexpected categories and new hierarchical levels. Chapter 3 analyzes the larger themes that occur through proliferation, while chapter 4 explores its ability to blur boundaries between thematic units. These discussions problematize a persistent view that Schumann's themes are regular and predictable, as it is sometimes this very facet that facilitates the complexities proliferation demonstrates. In chapter 5, I analyze three overtures and one symphonic movement that have received less analytical attention. In addition to shedding light on these neglected compositions, these case studies allow me to apply the theories and categories developed in the preceding chapters. I then conclude with thoughts on Schumann's compositional style, and suggest how we might rethink our analytical approaches to his music.
533 $a Electronic reproduction. $b Ann Arbor, Mich. : $c ProQuest, $d 2023
538 $a Mode of access: World Wide Web
650 4 $a Music theory. $3 547155
653 $a Formal functions
653 $a Nineteenth-century music
653 $a Schumann, Robert
653 $a Symphonies
655 7 $a Electronic books. $2 lcsh $3 542853
690 $a 0221
710 2 $a ProQuest Information and Learning Co. $3 783688
710 2 $a University of Toronto (Canada). $b Music. $3 3175528
773 0 $t Dissertations Abstracts International $g 84-01A.
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28963316 $z click for full text (PQDT)