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Pedals, Functions, and Form-Functional Overlap in the Instrumental Music of the Viennese Classical Style.

Record Type:	Language materials, manuscript : Monograph/item
Title/Author:	Pedals, Functions, and Form-Functional Overlap in the Instrumental Music of the Viennese Classical Style./
Author:	Johnston, Sean F.
Description:	1 online resource (190 pages)
Notes:	Source: Dissertation Abstracts International, Volume: 74-12(E), Section: A.
Subject:	Music. -
Online resource:	click for full text (PQDT)
ISBN:	9781303410338

Pedals, Functions, and Form-Functional Overlap in the Instrumental Music of the Viennese Classical Style.
Johnston, Sean F.

Pedals, Functions, and Form-Functional Overlap in the Instrumental Music of the Viennese Classical Style. - 1 online resource (190 pages)

Source: Dissertation Abstracts International, Volume: 74-12(E), Section: A.

Thesis (Ph.D.)--The University of Texas at Austin, 2012.

Includes bibliographical references

Despite being ubiquitous within the Classical style, pedals have received little attention in the scholarly literature. This dissertation adopts a form-functional approach to understanding them with an eye toward distinguishing their normative and non-normative functions. A form-functional approach begins by parsing the musical surface into formal and temporal functions. William Caplin has identified five distinct temporal functions: 1) "before-the-beginning"; 2) "the beginning"; 3) "the middle"; 4) "the end"; and 5) "after-the-end." Appearing mostly in locations 2) and 5), tonic pedals express two primary functions, formal initiation and postcadential closing for a theme. Dominant pedals also express postcadential function, but close less stable areas like transitions. They also appear in location 3), most notably in contrasting middles, where they bring harmonic contrast or uncertainty and anticipate a recapitulation. Because they frequently mediate between the home and subordinate key, I have devised four categories of dominant pedal that bring a sense of clarity to the range of functions dominant pedals can serve. Vd → Vd pedals normally express a postcadential standing-on-the-dominant or a contrasting-middle function. Vt → Vt pedals express the same functions, but in a more stable way. Vt → Vd pedals express a retransition function or a contrasting-middle function that enacts a harmonic transformation. The Vd → Vt pedal also expresses a contrasting-middle function, but reverses the direction of the harmonic transformation. Finally, with regard to their non-normative functions, pedals can loosen their formal contexts by generating form-functional overlap and expansion.

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

Mode of access: World Wide Web

ISBN: 9781303410338Subjects--Topical Terms:

649088
Music.
Index Terms--Genre/Form:

554714
Electronic books.

Pedals, Functions, and Form-Functional Overlap in the Instrumental Music of the Viennese Classical Style.
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245 1 0 $a Pedals, Functions, and Form-Functional Overlap in the Instrumental Music of the Viennese Classical Style.
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300 $a 1 online resource (190 pages)
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500 $a Source: Dissertation Abstracts International, Volume: 74-12(E), Section: A.
500 $a Adviser: Marianne Wheeldon.
502 $a Thesis (Ph.D.)--The University of Texas at Austin, 2012.
504 $a Includes bibliographical references
520 $a Despite being ubiquitous within the Classical style, pedals have received little attention in the scholarly literature. This dissertation adopts a form-functional approach to understanding them with an eye toward distinguishing their normative and non-normative functions. A form-functional approach begins by parsing the musical surface into formal and temporal functions. William Caplin has identified five distinct temporal functions: 1) "before-the-beginning"; 2) "the beginning"; 3) "the middle"; 4) "the end"; and 5) "after-the-end." Appearing mostly in locations 2) and 5), tonic pedals express two primary functions, formal initiation and postcadential closing for a theme. Dominant pedals also express postcadential function, but close less stable areas like transitions. They also appear in location 3), most notably in contrasting middles, where they bring harmonic contrast or uncertainty and anticipate a recapitulation. Because they frequently mediate between the home and subordinate key, I have devised four categories of dominant pedal that bring a sense of clarity to the range of functions dominant pedals can serve. Vd → Vd pedals normally express a postcadential standing-on-the-dominant or a contrasting-middle function. Vt → Vt pedals express the same functions, but in a more stable way. Vt → Vd pedals express a retransition function or a contrasting-middle function that enacts a harmonic transformation. The Vd → Vt pedal also expresses a contrasting-middle function, but reverses the direction of the harmonic transformation. Finally, with regard to their non-normative functions, pedals can loosen their formal contexts by generating form-functional overlap and expansion.
533 $a Electronic reproduction. $b Ann Arbor, Mich. : $c ProQuest, $d 2018
538 $a Mode of access: World Wide Web
650 4 $a Music. $3 649088
655 7 $a Electronic books. $2 local $3 554714
690 $a 0413
710 2 $a ProQuest Information and Learning Co. $3 1178819
710 2 $a The University of Texas at Austin. $b Music Theory. $3 1185247
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3572870 $z click for full text (PQDT)