Tonal Methods of Cyclic Unification in Haydns Mature Keyboard So

Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1990 Tonal Methods of Cyclic Unification in Haydn's Mature Keyboard Sonatas Stuart David Foster Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Foster, Stuart David, "Tonal Methods of Cyclic Unification in Haydn's Mature Keyboard Sonatas." (1990) LSU Historical Dissertations and Theses 4984 https://digitalcommons.lsu.edu/gradschool_disstheses/4984 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons For more information, please contact gradetd@lsu.edu INFORMATION TO USERS The m ost advanced technology has been used to photograph and reproduce this manuscript from the microfilm master UM I films the text directly from the original or copy submitted Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer The quality of this reproduction is dependent upon the quality of the copy submitted Broken or indistinct print, colored o r poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction In the unlikely event that the author did not send UM I a complete manuscript and there are missing pages, these will be noted Also, if unauthorized copyright material had to be removed, a note will indicate the deletion Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps Each original is also photographed in one exposure and is included in reduced form at the back of the book Photographs included in the original manuscript have been reproduced xerographically in this copy Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge Contact UMI directly to order U niversity Microfilms International A Bell & Howell Inform ation C o m p a n y 30 N o rth Z e e b R o ad A nn Arbor, Ml -1 USA 3 /7 -4 0 0 /5 -0 0 Order N u m ber 9112281 T o n al m e th o d s o f cyclic u n ific a tio n in H a y d n ’s m a tu r e k e y b o a rd so n a ta s Foster, Stuart David, D.M.A The Louisiana State University and Agricultural and Mechanical Col., 1990 UMI 300 N Zeeb Rd Ann Arbor, MI 48106 Tonal Methods of Cyclic Unification in Haydn s Mature Keyboard Sonatas A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Stuart Foster B.A., Cornell University, 1983 M.M., University of Arkansas, 1986 August 1990 ACKNOWLEDGMENTS I would like to thank Professor David Smyth, with whom I worked out the main ideas of the study, and who, as the main reader on my committee, provided prompt, generous, and insightful assistance at every step of the way Many thanks also go to Professor Jan Herlinger who was very helpful as an advance reader for the study, and to the remaining members of the committee for their time and valuable suggestions A special thanks goes to Alumni Professor jack Guerry, who was my major professor at L.S.U., and who provided four years of invaluable artistic guidance for my recitals Finally, this project would not have been possible without the patience, support, and understanding of my wife, Sissi TABLE OF CONTENTS ACKNOWLEDGMENTS ii LIST OF ANALYTICAL EXAMPLES iv TABLE OF HOBOKEN AND LANDON NUMBERS vii ABSTRACT viii INTRODUCTION CHAPTER ONE: UNITY THROUGH SHARED TONAL EMPHASES Sub mediant Emphasis in Development Sections Final-Movement References to First-Movement Sub mediant E m p h a s is 15 First-Movement Preparation for the Key of the Middle M o v e m e n t 19 Additional Examples of Tonally Unifying P a s s a g e s 28 CHAPTER TWO: UNITY THROUGH SHARED LOCAL HARMONIES 37 CHAPTER THREE: UNITY THROUGH SHARED HARMONIC PROGRESSIONS 59 Local Harmonic P ro g ressio n s 59 Sequences of Six-Three C h o r d s 70 Closing Section Progressions 77 Abrupt Harmonic Motion Between S e c tio n s 81 Larger-Scale Harmonic P rogressions 85 CONCLUSIONS 90 BIBLIOGRAPHY 94 V IT A 98 iii LIST OF ANALYTICAL EXAMPLES Sonata No (Hob.)/Key Examnle Page 18, B flat major 1-1 1-2 1-3 3-1 3-2 3-20 3-28 9 10 60 61 77 85 20, C minor 1-12 1-13 1-19 1-20 1-21 3-13 3-14 3-15 3-16 3-17 22 23 29 29 30 72 72 73 74 75 21, C major 1-9 1-22 1-23 1-24 3-20 19 31 32 33 77 22, E major 3-12 3-22 3-23 71 79 80 23, F major 1-6 1-7 3-21 3-24 14 15 78 81 iv Sonata No, (Hob ,)/Key Example Page 24, D major 1-8 2-8 2-9 2-10 17 45 46 46 30, A major 3-7 3-8 3-9 3-10 3-11 67 67 68 69 70 32, B minor 3-29 3-30 86 87 34, E minor 3-25 3-26 3-27 83 83 84 37, D major 2-11 2-12 2-13 3-3! 3-32 47 48 49 88 89 38, E flat major 1-14 1-15 1-16 1-17 1-18 25 25 26 27 27 42, D major 2-14 2-15 2-16 3-18 3-19 50 51 52 76 76 45, E flat major 3-3 3-4 62 63 v Sonata No (Hob.i/Kev Exam ole Page 46, A flat major 1-4 1-5 2-5 2-6 2-7 3-5 3-6 12 13 43 43 44 64 65 47, E minor/major 2-1 2-2 2-3 2-4 39 40 41 41 51, D major 2-17 2-18 2-19 2-20 2-21 53 54 55 55 56 52, E flat major 1-10 1-11 1-25 1-26 1-27 20 21 34 35 36 vi TABLE OF HOBOKEN AND LANDON NUMBERS HobPkep/LandQD Landon/Hoboken 18 20 19 47 20 33 20 18 21 36 29 45 22 37 31 46 23 38 33 20 24 39 36 21 30 45 37 22 32 47 38 23 34 53 39 24 37 50 45 30 38 51 47 32 42 56 50 37 45 29 51 38 46 31 53 34 47 19 56 42 51 61 61 51 52 62 62 52 Larger-Scale Harmonic Progressions Sonata No 18 A return to Sonata No 18 is w arranted in order to examine further similarities between its two development sections It was noted (on pp and 59 above) that each section emphasizes the sub mediant as its principal harmonic goal and that each articulates a similar motive characterized by a rapid dominant-tonic fluctuation In addition, the overall tonal plans of these developments reveal striking similarities Perhaps because of the brevity of the second movement s development, it would be more apt to say that it presents a condensed version of the tonal plan of the first development This tonal plan may be outlined as follows (see Ex 3-28): a statement of the main theme in the dominant; a brief inflection of F minor (minor dominant); an inflection of C minor—m 45 in I and mm 52-53 in II; a submediant half cadence; thematic material in G minor (much more extensive in I than in II); and an authentic cadence in this key, followed closely by the recapitulation There is essentially no retransition in I; II has a three-measure sequence and two additional bars of preparation â â âđ â đ /» s y l^r rw ' TX m 00— K6) # â # â đ *w 00 K