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On C. P. E. Bach's Late Keyboard Sonatas: Towards a Flexible Formal Analytical Approach
On C. P. E. Bach's Late Keyboard Sonatas: Towards a Flexible Formal Analytical Approach
상세정보
- 자료유형
- 학위논문 서양
- 최종처리일시
- 20250211152950
- ISBN
- 9798384035251
- DDC
- 780
- 저자명
- Li, Yan Kit.
- 서명/저자
- On C. P. E. Bachs Late Keyboard Sonatas: Towards a Flexible Formal Analytical Approach
- 발행사항
- [Sl] : University of Cincinnati, 2024
- 발행사항
- Ann Arbor : ProQuest Dissertations & Theses, 2024
- 형태사항
- 299 p
- 주기사항
- Source: Dissertations Abstracts International, Volume: 86-03, Section: A.
- 주기사항
- Advisor: Cahn, Steven Joel.
- 학위논문주기
- Thesis (Ph.D.)--University of Cincinnati, 2024.
- 초록/해제
- 요약This dissertation proposes a flexible formal analytical approach to C. P. E. Bach's late keyboard sonatas (Hamburg period, 1768-1788). This approach offers a solution to a vexing dilemma, namely, the irreconcilability between form (in its dialogue with sonata genre types) and content (which need not align with generic expectations) in these sonatas. The dilemma stems from Bach's fantasia-like treatments in his sonatas. The fantasia-like treatments are a source of eccentricities and digressions in Bach's sonatas from which can arise an incongruence between musical details and formal expectations.Generally, there are two different analytical approaches to this dilemma. The first is to restrict the analytical scope to clear-cut, genre-conforming, formal examples. The second is to focus on idiosyncratic details neglecting their significance to any formal process in its dialogue with the sonata genre. Neither approach reveals a dynamic relationship between the idiosyncratic details and the formal process.To underscore this dynamic relationship, I argue that Mikhail Bakhtin's concept of dialogized heteroglossia recognizes the role of incongruent details in shaping the formal process. By means of dialogized heteroglossia, one is able to bridge the gulf between form and content because this concept recognizes what I call a non-mechanical view of unity and diversity, a topic discussed variously in the second half of the 18th century in Western Europe.The non-mechanical view of unity and diversity offers a way to conceive unity by involving a bottom-up approach. It rejects an all-encompassing external structure that encapsulates hierarchical relationships between the general and the particular, respecting the properties of the musical materials. Dialogized heteroglossia captures the interanimation among the details and acquires meanings that arise from the materials' mutual illumination. Through a close inspection of how the incongruent details participate in shaping the formal process, a possible logical thread becomes evident by disclosing hidden similarities among the incongruities.My analytical methodology involves a three-phase procedure. Phase one is a phenomenological report that reflects the diachronic musical experience. Phase two is a similarity matrix that visualizes dialogized heteroglossia as a systematic comparison of every musical module with every other musical module. Phase three is an interpretation that elucidates eccentricities.I have selected three sonata movements as case studies: Sonata in A major, Wq. 56/6, iii (1780); the Sonata in G major, Wq. 56/2, iii (1774); and the Sonata in C major, Wq. 65/47, i (1775). Each of these three sonata movements involves a mix of styles. Structurally, they share a common feature: a cantabile passage framed in the middle of the movement (Wq. 56/6) or rotation (Wq. 56/2 and Wq. 65/47). Though all these cantabile passages are sandwiched by passages in fantasia style, they relate to their surrounding musical materials in different ways. Other Bakhtinian literary concepts brought into discussion include double-voiced discourse in Wq. 56/6, the role of the fool in the novel in Wq. 56/2, and genre theory in Wq. 65/47. These Bakhtinian insights help to disclose the musical irony in Bach's late keyboard sonatas.
- 일반주제명
- Music
- 일반주제명
- Musical composition
- 일반주제명
- Music theory
- 일반주제명
- Musical performances
- 키워드
- Bach, C. P. E.
- 키워드
- Sonata theory
- 키워드
- Keyboard music
- 키워드
- Galant style
- 키워드
- Music analysis
- 기타저자
- University of Cincinnati College-Conservatory of Music: Theory
- 기본자료저록
- Dissertations Abstracts International. 86-03A.
- 전자적 위치 및 접속
- 로그인 후 원문을 볼 수 있습니다.
MARC
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■24510▼aOn C. P. E. Bach's Late Keyboard Sonatas: Towards a Flexible Formal Analytical Approach
■260 ▼a[Sl]▼bUniversity of Cincinnati▼c2024
■260 1▼aAnn Arbor▼bProQuest Dissertations & Theses▼c2024
■300 ▼a299 p
■500 ▼aSource: Dissertations Abstracts International, Volume: 86-03, Section: A.
■500 ▼aAdvisor: Cahn, Steven Joel.
■5021 ▼aThesis (Ph.D.)--University of Cincinnati, 2024.
■520 ▼aThis dissertation proposes a flexible formal analytical approach to C. P. E. Bach's late keyboard sonatas (Hamburg period, 1768-1788). This approach offers a solution to a vexing dilemma, namely, the irreconcilability between form (in its dialogue with sonata genre types) and content (which need not align with generic expectations) in these sonatas. The dilemma stems from Bach's fantasia-like treatments in his sonatas. The fantasia-like treatments are a source of eccentricities and digressions in Bach's sonatas from which can arise an incongruence between musical details and formal expectations.Generally, there are two different analytical approaches to this dilemma. The first is to restrict the analytical scope to clear-cut, genre-conforming, formal examples. The second is to focus on idiosyncratic details neglecting their significance to any formal process in its dialogue with the sonata genre. Neither approach reveals a dynamic relationship between the idiosyncratic details and the formal process.To underscore this dynamic relationship, I argue that Mikhail Bakhtin's concept of dialogized heteroglossia recognizes the role of incongruent details in shaping the formal process. By means of dialogized heteroglossia, one is able to bridge the gulf between form and content because this concept recognizes what I call a non-mechanical view of unity and diversity, a topic discussed variously in the second half of the 18th century in Western Europe.The non-mechanical view of unity and diversity offers a way to conceive unity by involving a bottom-up approach. It rejects an all-encompassing external structure that encapsulates hierarchical relationships between the general and the particular, respecting the properties of the musical materials. Dialogized heteroglossia captures the interanimation among the details and acquires meanings that arise from the materials' mutual illumination. Through a close inspection of how the incongruent details participate in shaping the formal process, a possible logical thread becomes evident by disclosing hidden similarities among the incongruities.My analytical methodology involves a three-phase procedure. Phase one is a phenomenological report that reflects the diachronic musical experience. Phase two is a similarity matrix that visualizes dialogized heteroglossia as a systematic comparison of every musical module with every other musical module. Phase three is an interpretation that elucidates eccentricities.I have selected three sonata movements as case studies: Sonata in A major, Wq. 56/6, iii (1780); the Sonata in G major, Wq. 56/2, iii (1774); and the Sonata in C major, Wq. 65/47, i (1775). Each of these three sonata movements involves a mix of styles. Structurally, they share a common feature: a cantabile passage framed in the middle of the movement (Wq. 56/6) or rotation (Wq. 56/2 and Wq. 65/47). Though all these cantabile passages are sandwiched by passages in fantasia style, they relate to their surrounding musical materials in different ways. Other Bakhtinian literary concepts brought into discussion include double-voiced discourse in Wq. 56/6, the role of the fool in the novel in Wq. 56/2, and genre theory in Wq. 65/47. These Bakhtinian insights help to disclose the musical irony in Bach's late keyboard sonatas.
■590 ▼aSchool code: 0045.
■650 4▼aMusic
■650 4▼aMusical composition
■650 4▼aMusic theory
■650 4▼aMusical performances
■653 ▼aBach, C. P. E.
■653 ▼aSonata theory
■653 ▼aDialogized heteroglossia
■653 ▼aKeyboard music
■653 ▼aGalant style
■653 ▼aMusic analysis
■690 ▼a0413
■690 ▼a0214
■690 ▼a0943
■690 ▼a0221
■71020▼aUniversity of Cincinnati▼bCollege-Conservatory of Music: Theory.
■7730 ▼tDissertations Abstracts International▼g86-03A.
■790 ▼a0045
■791 ▼aPh.D.
■792 ▼a2024
■793 ▼aEnglish
■85640▼uhttp://www.riss.kr/pdu/ddodLink.do?id=T17164335▼nKERIS▼z이 자료의 원문은 한국교육학술정보원에서 제공합니다.
