The sublational finale: thematic recall and formal process in instrumental music by Schubert and Schumann Public Deposited
- Last Modified
- March 21, 2019
- Affiliation: College of Arts and Sciences, Department of Music
- 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
- Resource type
- Rights statement
- In Copyright
- ... in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Music.
- Bonds, Mark Evan
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|The sublational finale : thematic recall and formal process in instrumental music by Schubert and Schumann||2019-04-09||Public||