Mendelssohn's small ternary forms in Songs without words, Op. 19: a quantitative analysis
Description
TitleMendelssohn's small ternary forms in Songs without words, Op. 19: a quantitative analysis
Date Created2021
Other Date2021-01 (degree)
Extent1 online resource (vii, 157 pages) : illustrations
DescriptionWhile descriptive analysis affords interpretive flexibility, a properly conceived quantitative framework can enhance understanding by enabling the precise measurement and comparison of musical phenomena, the statistical evaluation of numerous phenomenal instances and relationships, and data visualization for pattern detection and communication. This study presents such a framework and uses it to analyze Felix Mendelssohn’s small ternary forms in Songs Without Words, Op. 19.
This study builds upon and extends William Caplin’s theory of formal functions. It does so by adding three main analytical tools to Caplin’s framework: 1) a conception of a unit’s form-functional efficiency that enables its precise measurement, 2) a quantitative theory of a formal unit’s tonal stability as expressed by its harmonic progression, and 3) a quantitative theory of a formal unit’s symmetry of grouping structure.
This methodology reveals the dominant design tendencies of Mendelssohn’s small ternary organization in Op. 19. First, he favors a tighter, or more stable, exposition than contrasting middle 42.9% of the time. Next, 50% of the time, Mendelssohn crafts a tighter exposition than recapitulation. Finally, he designs a looser, or less stable, contrasting middle than recapitulation 42.9% of the time.
In this paper, I also examine Mendelssohn’s small ternary practice in relation to Caplin’s classical model of small ternary organization. The organization of Op. 19/2 and three factors—cadential design, thematic design, and grouping-structure symmetry—feature a relatively high frequency of conformity to Caplin’s model; the other pieces, the other factors, and the composite sectional relationships do not.
Beyond contributing to an understanding of Mendelssohn’s small ternary organization in Op. 19, one can use the quantitative framework I present in this paper to enhance an understanding of other musical phenomena, including the evaluation of other composers’ formal units and the larger forms that they constitute.
NotePh.D.
NoteIncludes bibliographical references
Genretheses, ETD doctoral
LanguageEnglish
CollectionSchool of Graduate Studies Electronic Theses and Dissertations
Organization NameRutgers, The State University of New Jersey
RightsThe author owns the copyright to this work.