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Triangles of Soul---Schubert the "Wanderer" and His Music Explained by Neo-Riemannian Graphs.

紀錄類型:	書目-語言資料,手稿 : Monograph/item
正題名/作者:	Triangles of Soul---Schubert the "Wanderer" and His Music Explained by Neo-Riemannian Graphs./
作者:	Ishihama, Kanako.
面頁冊數:	1 online resource (223 pages)
附註:	Source: Dissertation Abstracts International, Volume: 79-02(E), Section: A.
標題:	Music. -
電子資源:	click for full text (PQDT)
ISBN:	9780355402384

Triangles of Soul---Schubert the "Wanderer" and His Music Explained by Neo-Riemannian Graphs.
Ishihama, Kanako.

Triangles of Soul---Schubert the "Wanderer" and His Music Explained by Neo-Riemannian Graphs. - 1 online resource (223 pages)

Source: Dissertation Abstracts International, Volume: 79-02(E), Section: A.

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

Includes bibliographical references

In Schubert's music, the theme "wandering" is used frequently, closely related to human life and death. I presume that, being stricken by serious illness and facing challenging relationships, Schubert lived his short life with agony and dismay, confronting the life theme "death." In that sense, Schubert himself was probably the wanderer who kept trudging throughout his life journey. In 1822, Schubert composed the allegorical tale "My Dream," and in that tale, he writes as follows; "when I attempted to sing of love, it turned to pain. And again, when I tried to sing of pain, it turned to love. Thus were love and pain divided in me" (Deutsch 1977, 227). Schubert lived his life, struggling between love and pain, and between life and death. Human life and death conflict with each other, but exist together in the same place. In other words, death is a root of life. If one can perceive that life and death both exist at the root of one's life, the form of life should be represented by a circular path, not by a linear formation. This notion accords with Schubert's musical style, where the same material comes back again and again in a circular formation. I assume that the notion---death as a root of life---is the essential conception of "wandering" that Schubert's music expresses. In this dissertation, I would like to offer several Neo-Riemannian analyses and graphs of Schubert's piano compositions; Impromptus D. 899, Moments Musical D. 780, Sonata in C-minor D. 958, and the "Wanderer" Fantasy D. 760. For each work and movement, I will map out the harmonic structure and key progressions on a Tonnetz graph, and suggest a new way to comprehend the nature of "wandering" that Schubert's music portrays. Through the configurations and harmonic motions on the Tonnetz graphs, I will establish a way to comprehend Schubert's concept of circular "wandering" visually and geometrically.

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

Mode of access: World Wide Web

ISBN: 9780355402384Subjects--Topical Terms:

649088
Music.
Index Terms--Genre/Form:

554714
Electronic books.

Triangles of Soul---Schubert the "Wanderer" and His Music Explained by Neo-Riemannian Graphs.
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504 $a Includes bibliographical references
520 $a In Schubert's music, the theme "wandering" is used frequently, closely related to human life and death. I presume that, being stricken by serious illness and facing challenging relationships, Schubert lived his short life with agony and dismay, confronting the life theme "death." In that sense, Schubert himself was probably the wanderer who kept trudging throughout his life journey. In 1822, Schubert composed the allegorical tale "My Dream," and in that tale, he writes as follows; "when I attempted to sing of love, it turned to pain. And again, when I tried to sing of pain, it turned to love. Thus were love and pain divided in me" (Deutsch 1977, 227). Schubert lived his life, struggling between love and pain, and between life and death. Human life and death conflict with each other, but exist together in the same place. In other words, death is a root of life. If one can perceive that life and death both exist at the root of one's life, the form of life should be represented by a circular path, not by a linear formation. This notion accords with Schubert's musical style, where the same material comes back again and again in a circular formation. I assume that the notion---death as a root of life---is the essential conception of "wandering" that Schubert's music expresses. In this dissertation, I would like to offer several Neo-Riemannian analyses and graphs of Schubert's piano compositions; Impromptus D. 899, Moments Musical D. 780, Sonata in C-minor D. 958, and the "Wanderer" Fantasy D. 760. For each work and movement, I will map out the harmonic structure and key progressions on a Tonnetz graph, and suggest a new way to comprehend the nature of "wandering" that Schubert's music portrays. Through the configurations and harmonic motions on the Tonnetz graphs, I will establish a way to comprehend Schubert's concept of circular "wandering" visually and geometrically.
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