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Thematic Idiosyncrasy in Prokofiev's...
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ProQuest Information and Learning Co.
Thematic Idiosyncrasy in Prokofiev's Early Sonata Forms.
紀錄類型:
書目-語言資料,手稿 : Monograph/item
正題名/作者:
Thematic Idiosyncrasy in Prokofiev's Early Sonata Forms./
作者:
Perry, Rebecca A.
面頁冊數:
1 online resource (195 pages)
附註:
Source: Dissertation Abstracts International, Volume: 78-11(E), Section: A.
標題:
Music. -
電子資源:
click for full text (PQDT)
ISBN:
9780355027877
Thematic Idiosyncrasy in Prokofiev's Early Sonata Forms.
Perry, Rebecca A.
Thematic Idiosyncrasy in Prokofiev's Early Sonata Forms.
- 1 online resource (195 pages)
Source: Dissertation Abstracts International, Volume: 78-11(E), Section: A.
Thesis (Ph.D.)--Yale University, 2017.
Includes bibliographical references
While commentators have shown particular interest in Prokofiev's harmonic language and the cultural and political milieu in which it took shape, other aspects of his musical idiom---especially his formal practice---have often been dismissed as uninventive and overly reliant on classical models. Commentators have referred to his works, in passing, as displaying a "comparative lack of concern about innovation in form" (Malcolm Brown) or adhering to "stereotyped formal patterns straight out of a textbook" (Richard Taruskin).
Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2018
Mode of access: World Wide Web
ISBN: 9780355027877Subjects--Topical Terms:
649088
Music.
Index Terms--Genre/Form:
554714
Electronic books.
Thematic Idiosyncrasy in Prokofiev's Early Sonata Forms.
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Source: Dissertation Abstracts International, Volume: 78-11(E), Section: A.
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Adviser: Patrick McCreless.
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While commentators have shown particular interest in Prokofiev's harmonic language and the cultural and political milieu in which it took shape, other aspects of his musical idiom---especially his formal practice---have often been dismissed as uninventive and overly reliant on classical models. Commentators have referred to his works, in passing, as displaying a "comparative lack of concern about innovation in form" (Malcolm Brown) or adhering to "stereotyped formal patterns straight out of a textbook" (Richard Taruskin).
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While it is indisputable that Prokofiev remained in a close dialogue with classical structures throughout his career, such cursory dismissals bypass much that is unorthodox and connotatively rich in the composer's formal strategies. This dissertation explores a number of these subtleties, presenting a series of four analytical essays that investigate questions of thematic process and formal idiosyncrasy in Prokofiev's early sonata forms (1909-1923). The thematic anomalies foregrounded in these analyses---including Prokofiev's interpolations, superimpositions, truncations, and functional displacements---are shown to greatly complicate the larger structures in which they appear, inviting reassessment of his work within the sonata genre.
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In addition to contributing to a fuller, more rounded portrait of Prokofiev's approach to musical composition, this study will allow us to better situate the composer historically, placing him in relation to a rich network of traditions with which he has previously been only marginally connected, including the nineteenth-century Russian symphonic tradition, fin de siecle Austro-German sonata practice, and the early-twentieth-century Franco-Russian avant-garde.
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click for full text (PQDT)
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