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Harmonic, Tonal, And Formal Asynchrony In Robert Schumann's Frauenliebe Und Leben, Kelli E. Bomberger

Glenn Korff School of Music: Dissertations, Theses, Student Creative Work, and Performance

This thesis explores the asynchrony among form, harmony, and tonality in Robert Schumann’s Frauenliebe und Leben, Op. 42. Using several theoretical lenses, this study identifies and analyzes a selection of songs from this work that distort tonal, harmonic, and formal relationships and how the text setting may inform these distortions. This is shown through detailed analyses of several songs from the cycle that highlight areas of asynchrony. The first section of this document explores the background of Frauenliebe und Leben and draws upon other musical examples in order to establish working definitions of asynchronous elements. The following sections are …

Tonal Procedures In Lowell Liebermann's Concerto For Piccolo And Orchestra, Kathryn Laura Rice

Glenn Korff School of Music: Dissertations, Theses, Student Creative Work, and Performance

This thesis seeks to impart how Lowell Liebermann incorporates common practice tonal elements into his twentieth-century Concerto for Piccolo. This will be shown through a detailed analysis of the three-movement work highlighting how the composer uses characteristics of common practice tonality as compiled by Joseph Straus in the third edition of his text, Introduction to Post-Tonal Theory. This document is organized into five sections. The first explains background information on the concerto as well as presents the parameters to be used for the analysis. The second through fourth sections provide an analysis of each movement in chronological order, detailing how …

A Contextually Defined Approach To Appalachian Spring, Stanley V. Kleppinger

Glenn Korff School of Music: Faculty Publications

This essay provides analysis of the first Allegro (“Eden Valley”) and the coda from Aaron Copland’s Appalachian Spring. Following Joseph Straus and Arthur Berger, this investigation traces the correspondences of the work’s pitch centers with other pitch components of the music’s surface. The varied musical approaches of the Allegro—functional progressions, polychords, quartal trichords, chains of triads related by half or whole step, and pandiatonic melodies—coalesce to create a multi-faceted movement from centricity on A to centricity on F, while also presenting unique, individual narratives of that procession to F. In Appalachian Spring’s coda, both A and F reappear in …

The Structure And Genesis Of Copland's Quiet City, Stanley V. Kleppinger

Glenn Korff School of Music: Faculty Publications

Aaron Copland’s Quiet City (1940), a one-movement work for trumpet, cor anglais, and strings, derives from incidental music the composer wrote for an unsuccessful and now forgotten Irwin Shaw play. This essay explores in detail the pitch structure of the concert work, suggesting dramatic parallels between the music and Shaw’s play.

The opening of the piece hinges on an anhemitonic pentatonic collection, which becomes the source of significant pitch centres for the whole composition, in that the most prominent pitch classes of each section, when taken together, replicate the collection governing the music’s first and last bars. Both this principle …