Last Modified

• March 21, 2019

Creator

• Brannon, Samuel
  • Affiliation: College of Arts and Sciences, Department of Music

Abstract

• Composers of multimovement instrumental works in the nineteenth century recognized thematic recall as one solution to the formal problem of creating a whole of out disparate movements. The theoretical and analytic literature rarely broaches the technique's compositional motivations and interpretive implications. This paper attempts to address these issues by interpreting thematic recalls as musical instantiations of Hegel's philosophical concept of sublation (from aufheben, meaning simultaneously to preserve and to cancel). This paper uses the concept of a sublational finale to explain the various formal processes at work in finales that feature thematic recall, illustrated by analyses of three representative works: Franz Schubert's Piano Trio in E-flat Major (D. 929), and Robert Schumann's Piano Quintet in E-flat Major (op. 44) and Second Symphony in C Major (op. 61).

Date of publication

• May 2012

DOI

• https://doi.org/10.17615/0xfz-fs57

Resource type

• Masters Thesis

Rights statement

• In Copyright

Note

• ... in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Music.

Advisor

• Bonds, Mark Evan

Language

• English

Parents:

This work has no parents.

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