The interaction of tonal structure and phrase structure as an aspect of form in tonal music.

Abstract

The primary goal of this dissertation is to construct a broad theoretical model of form in tonal music, one that takes Heinrich Schenker's theory of form as a starting point but also incorporates the best aspects of other theories, both earlier and later. Schenker's denigration of the thematic approach to form is set aside in order to avoid the fallacy that too many Schenkerian analysts have fallen into--namely, that of considering melodies and their repetitions as superficial detail, of interest only to the uninitiated, to be transcended as quickly as possible in favor of hidden substructures. Those substructures exist, but so do the melodies; part of the interest in any tonal composition lies in the dynamic interaction between the two. Following the work of William Rothstein, these two approaches are referred to as inner form (the substructure) and outer form (the melodic aspect) respectively. Chapters 2 and 3 explore each of these phenomena separately. The final section of the dissertation combines the notions of inner and outer form. Through a series of analyses, a detailed description is given of the dynamic relationship (supporting or contradictory) that exists between these two structures. Among other things the function of such agreement or disagreement is set forth in terms of the listener's experience of the musical work. The aim of this dissertation is to arrive at a better understanding of musical form, applicable not only to the teaching of musical form but also to interpretive issues in musical performance.