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Form, Style, and Influence in the Chamber Music of Antonin Dvorak.

紀錄類型:	書目-語言資料,手稿 : Monograph/item
正題名/作者:	Form, Style, and Influence in the Chamber Music of Antonin Dvorak./
作者:	Rockwood, Mark F.
面頁冊數:	1 online resource (125 pages)
附註:	Source: Dissertation Abstracts International, Volume: 79-01(E), Section: A.
標題:	Music. -
電子資源:	click for full text (PQDT)
ISBN:	9780355144246

Form, Style, and Influence in the Chamber Music of Antonin Dvorak.
Rockwood, Mark F.

Form, Style, and Influence in the Chamber Music of Antonin Dvorak. - 1 online resource (125 pages)

Source: Dissertation Abstracts International, Volume: 79-01(E), Section: A.

Thesis (Ph.D.)--University of Oregon, 2017.

Includes bibliographical references

The last thirty years have seen a resurgence in the research of sonata form. One groundbreaking treatise in this renaissance is James Hepokoski and Warren Darcy's 2006 monograph Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata. Hepokoski and Darcy devise a set of norms in order to characterize typical happenings in a late 18th-century sonata. Subsequently, many theorists have taken these norms (and their deformations) and extrapolate them to 19th-century sonata forms. My work aims to characterize Antonin Dvorak's chamber music in the context of Sonata Theory, using the treatise as a jumping off point in order to analyze his music. This dissertation contains three main chapters. The first chapter deals with two of the themes of this dissertation: form and influence. Schubert's influence on Dvorak's music was notable, so after comparing some of Dvorak's writing about Schubert's music, I examine specific musical elements (sonic, formal, and structural) from Schubert's String Quintet in C Major, D. 956 that Dvorak emulates in his string quartet in the same key. Chapters 3 and 4 put Dvorak's sonata form practices into a 19th-century context, and I examine how he treats the MC and EEC sections of an exposition. In Chapter 3, I contend that Dvorak's use of energy loss before and after the medial caesura is just as rhetorically successful as 18th-century composer's use of energy gain in the transition section of a sonata. Additionally, many of Dvorak's sonata forms feature expositions with vastly elongated S themes, thereby pushing rhetorical closure of the exposition back. This is unlike 18th-century sonatas, whose expositions routinely wrap up with a cadence in the second key after the first phrase. Thus, Chapter 4 displays several sonatas where Dvorak extends S-rhetoric in order to delay the close of the exposition. Even though not originally intended for this music, Hepokoski and Darcy's treatise provides a fruitful set of norms that can be related to works from the 19th century. Additionally, Dvorak's music is especially appropriate for this treatment, as his compositional style owes many allegiances to 18th-century techniques.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2018

Mode of access: World Wide Web

ISBN: 9780355144246Subjects--Topical Terms:

649088
Music.
Index Terms--Genre/Form:

554714
Electronic books.

Form, Style, and Influence in the Chamber Music of Antonin Dvorak.
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520 $a The last thirty years have seen a resurgence in the research of sonata form. One groundbreaking treatise in this renaissance is James Hepokoski and Warren Darcy's 2006 monograph Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata. Hepokoski and Darcy devise a set of norms in order to characterize typical happenings in a late 18th-century sonata. Subsequently, many theorists have taken these norms (and their deformations) and extrapolate them to 19th-century sonata forms. My work aims to characterize Antonin Dvorak's chamber music in the context of Sonata Theory, using the treatise as a jumping off point in order to analyze his music. This dissertation contains three main chapters. The first chapter deals with two of the themes of this dissertation: form and influence. Schubert's influence on Dvorak's music was notable, so after comparing some of Dvorak's writing about Schubert's music, I examine specific musical elements (sonic, formal, and structural) from Schubert's String Quintet in C Major, D. 956 that Dvorak emulates in his string quartet in the same key. Chapters 3 and 4 put Dvorak's sonata form practices into a 19th-century context, and I examine how he treats the MC and EEC sections of an exposition. In Chapter 3, I contend that Dvorak's use of energy loss before and after the medial caesura is just as rhetorically successful as 18th-century composer's use of energy gain in the transition section of a sonata. Additionally, many of Dvorak's sonata forms feature expositions with vastly elongated S themes, thereby pushing rhetorical closure of the exposition back. This is unlike 18th-century sonatas, whose expositions routinely wrap up with a cadence in the second key after the first phrase. Thus, Chapter 4 displays several sonatas where Dvorak extends S-rhetoric in order to delay the close of the exposition. Even though not originally intended for this music, Hepokoski and Darcy's treatise provides a fruitful set of norms that can be related to works from the 19th century. Additionally, Dvorak's music is especially appropriate for this treatment, as his compositional style owes many allegiances to 18th-century techniques.
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