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Degree

MA, Kent State University, College of the Arts / School of Music, 2011.

Abstract

Franck’s third organ chorale, composed in 1890, is a piece that pushes the boundaries of traditional Schenkerian analysis. The presence of scale-degree 6 for scale-degree 4 substitutions in the Urlinie, Urlinie parallelisms, and dual registers is evidence of the progressive nature of the work. The use of the Neapolitan, both as a plagal entity and in its minor form, stretches the limit of traditional harmonic function. The possibility of a free interruption further adds to the complexity of the work. These discoveries are significant to the main goal of the analysis: to clarify the form. However, the form is just as complex as the smaller building blocks used to create the work. Each of the characteristics of the piece contributes to labeling the work as an undivided form, while also supporting the notion of a two-part form on a lower structural level. The confusion in published commentaries that has arisen from labeling the form of the work stems from a lack of complexity within traditional and Schenkerian formal labels. While an undivided form is a clear answer, there is a hidden intricacy to this work revealed by careful analysis.

Subject Headings

Music

Keywords

Cesar Franck; Schenker; Schenkerian analysis; Trois chorals pour orgue; Organ Chorale No. 3 in A minor; music theory

Committee / Advisors

Ralph Lorenz (Advisor)
Richard Devore (Committee Member)
Frank Wiley (Committee Member)

Pages

93p.

Document number: kent1293670461
Permalink: http://rave.ohiolink.edu/etdc/view?acc_num=kent1293670461

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