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Tonal coherence in Prokofiev's music : a study of the interrelationships of structure, motives and design / by Deborah Anne Rifkin.
Author
Rifkin, Deborah Anne, 1969-
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Format
Book
Language
English
Published/Created
2000.
Description
1 online resource (ix, 144 leaves) : music
Availability
Available Online
Online Content
Copies in the Library
Location
Call Number
Status
Location Service
Notes
Mendel Music Library - Stacks
ML410.P865 R53 2000a
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Details
Subject(s)
Instrumental music
—
Analysis, interpretation
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Prokofiev, Sergey 1891-1953
—
Criticism and interpretation
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Library of Congress genre(s)
Academic theses
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Getty AAT genre
dissertations
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Summary note
Prokofiev has written some of the most widely-admired music in the twentieth-century, including Peter and the Wolf, Romeo and Juliet, Love for Three Oranges , and Lieutenant Kije. His distinctive compositional style can be recognized easily by its quirky turns of phrases and unexpected harmonies, which have been called "wrong notes" by many scholars. Integrating "wrong notes" into a theory of musical coherence has been problematic for scholars. Using the term "wrong" seems to imply that these chromatic excursions are incorrect substitutes for the "right notes," which would be notes that conform to conventional tonal expectations. Most studies interpret Prokofiev's music as tonal, yet they relegate the "wrong notes" to an insignificant structural status. Other analyses consider "wrong notes" integral elements of an atonal structure and approach wrong-note music using pitch-class set analysis. This dissertation proposes a third analytic perspective. It demonstrates how Prokofiev's supposedly "wrong-note" passages, rather than being anomalous to a tonal structure, instead actively participate in tonal coherence. One reason "wrong notes" challenge tonal theories of coherence is because they cannot be represented within a hierarchical system. The dissertation explores an alternative means of representation, a network model, which can accommodate non-hierarchical musical associations. Using a network model not only accommodates wrong notes, but it also better represents Schenkerian analytic practice. In addition to non-hierarchical prolongation techniques and wrong-note harmonic functions, networks can also represent relationships created by motives and design. Chapter Two discusses motives, differentiating between strongly and weakly tonal ones. Whether dependent or independent of their tonal context, however, motives help create relationships that make a supposedly "wrong note" belong in the music. While Chapters One and Two concentrate on pitch aspects of wrong-note music, the third chapter prioritizes non-pitch attributes. Chapter Three discusses formal and surface designs and their impact on the perception of a note as wrong. Overall, Prokofiev's music can be best described using tonal networks that can represent corroborating and conflicting relationships between structure, motives, and design.
Notes
Includes vita and abstract.
Dissertation note
Ph. D. University of Rochester: Eastman School of Music 2000
Bibliographic references
Includes bibliographical references (leaves 142-144).
Other format(s)
Also available in an electronic version.
OCLC
45170035
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