Motivic design and tonal structure in the mazurkas of Frederic Chopin, as illustrated in graphic analyses based on the theoretical concepts of Heinrich Schenker
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Date
1989-05
Authors
Viljoen, Nicolaas Gert Johannes
Journal Title
Journal ISSN
Volume Title
Publisher
University of the Free State
Abstract
This dissertation presents a study of motivic design and tonal
structure in selected mazurkas by Frederic Chopin. The principal
objective is to demonstrate the coordinated interaction of
harmony, counterpoint and motivic design in the mazurkas. The
analytic method used is that of the Austrian pianist and music
theorist Heinrich Schenker (1868-1935), a method based on the
conception of a tonal composition as an organic hierarchy of
structural levels ("Schichten"). Analyses of mazurkas are
presented through sets of carefully worked out voice-leading
graphs depicting the various levels of structure and their
content.
The merit of Schenkerian analysis for interpreting motivic and
structural elements is given in the preface, the principal point
being the identification and interpretation of harmonic,
voice-leading and motivic events on different structural levels.
A general introduction to Chopin and the mazurka follows,
comprising a historical overview of the mazurka as genre, a
chronological listing of all the mazurkas of Chopin, and an
assessment of his contribution to the mazurka.
Part One presents
Schenker's method, using
analytic illustrations.
a justification and explanation of
excerpts from various mazurkas as
A set of analytic voice-leading graphs
for a complete mazurka, serving as comprehensive model analysis,
and intended to demonstrate the whole apparatus of Schenkerian
analysis, is provided with commentary in a separate chapter.
Various areas of investigation concerning motivic design and
tonal structure in the mazurkas are followed through in Part Two.
These include motivic design as a unifying factor, its influence
on tonal structure, the influences of motivic design and tonal
structure on form, and of chromaticism and specific folkloric
devices on motivic and tonal structure.
The seventeen mazurkas analysed in Part Two reveal
concentrated interactions of harmonic, voice-leading and motivic
elements, many instances of hidden motivic repetitions or
parallelisme, and motivic networks. Motives also play a decisive
role in tonal and formal unification. Chromaticism and folkloric
elements are no longer pure stylistic or idiomatic features, but
part of the motivic and tonal-structural content.
Through the application of Schenkerian analysis, new insights
are gained into the nature of motivic and tonal-structural
elements in the mazurkas which cannot be arrived at through
conventional methods of analysis.
Description
Keywords
Schenker, Heinrich, Piano music -- Analysis, appreciation, Chopin, Frederic -- Piano music, Thesis (D.Phil. (Music))--University of the Free State, 1989