PhD, University of Cincinnati, 2024, College-Conservatory of Music: Theory

This dissertation develops an analytical tool called “the secondary-parameter network” that uses secondary parameters to define sonata form in late-twentieth-century symphonic repertoire. Instead of relying upon tonal inheritance or themes to define sonata form in the symphonies of late-century composers such as Edison Denisov, Lowell Liebermann, Einojuhani Rautavaara, Christopher Rouse, and Isang Yun, the secondary-parameter network uses changes of instrumentation, rhythms, time signature, dynamics, contrapuntal texture, and tempo to identify formal junctures. Essentially, most or all secondary parameters change at formal boundaries. The method developed here differs from those of other scholars of twentieth-century sonata-form repertoire, such as Lofthouse, Perry, and Tarrant, who employ Sonata Theory to account for the works of, respectively, Shostakovich, Prokofiev, and Nielsen. While their recalibration of Sonata Theory accounts for this mid-century repertoire well, first movements of multimovement symphonies by late-twentieth-century composers require a different approach because the idea of rotation is no longer relevant. The secondary-parameter network offers a new reading of sonata form through a ground-up construction of sonata form based on significant changes to secondary parameters.

Committee: Christopher Segall Ph.D. (Committee Chair); Cristina Losada Ph.D. (Committee Member); Samuel Ng Ph.D. (Committee Member) Subjects: Music