A study of Schenker's unpublished analyses of Chopin in the Oster Collection
A study of Schenker's unpublished analyses of Chopin in the Oster Collection
Chopin is a composer relatively well represented in Schenker’s published graphic material but not in his written essays, yet his general position within the framework of Schenker’s thought has been only briefly accounted for. However, Chopin played a major role in the formation of Schenker’s ideas about voice-leading, prolongation, and musical structure. Exploring some unpublished analyses of Chopin, therefore, widens the image of the composer within Schenker’s framework, whilst at the same time revealing insights into Chopin’s music.
In chapter 1, I survey the content of the Oster Collection in relation to Chopin’s music. Chapter 2 considers the context of German reception of Chopin across the nineteenth and the twentieth centuries as the initial framework for Schenker’s construction of Chopin as a ‘German’ composer. After highlighting elements of a piano-teaching tradition from Chopin, through his pupil Karl Mikuli, to Schenker, the chapter then goes on to interpret Chopin’s appearances in Schenker’s publications. The subsequent four chapters form the case studies, focusing on a selection of Preludes op. 28, the Scherzo op. 31, the Finale of the Sonata op. 35, and the Berceuse op. 57. In the final chapter I gather the various components that emerge in the main analyses and evaluate the importance of Chopin in the formation of Schenker’s analytical thought.
University of Southampton
2003
Cascelli, Antonio
(2003)
A study of Schenker's unpublished analyses of Chopin in the Oster Collection.
University of Southampton, Doctoral Thesis.
Record type:
Thesis
(Doctoral)
Abstract
Chopin is a composer relatively well represented in Schenker’s published graphic material but not in his written essays, yet his general position within the framework of Schenker’s thought has been only briefly accounted for. However, Chopin played a major role in the formation of Schenker’s ideas about voice-leading, prolongation, and musical structure. Exploring some unpublished analyses of Chopin, therefore, widens the image of the composer within Schenker’s framework, whilst at the same time revealing insights into Chopin’s music.
In chapter 1, I survey the content of the Oster Collection in relation to Chopin’s music. Chapter 2 considers the context of German reception of Chopin across the nineteenth and the twentieth centuries as the initial framework for Schenker’s construction of Chopin as a ‘German’ composer. After highlighting elements of a piano-teaching tradition from Chopin, through his pupil Karl Mikuli, to Schenker, the chapter then goes on to interpret Chopin’s appearances in Schenker’s publications. The subsequent four chapters form the case studies, focusing on a selection of Preludes op. 28, the Scherzo op. 31, the Finale of the Sonata op. 35, and the Berceuse op. 57. In the final chapter I gather the various components that emerge in the main analyses and evaluate the importance of Chopin in the formation of Schenker’s analytical thought.
This record has no associated files available for download.
More information
Published date: 2003
Identifiers
Local EPrints ID: 465256
URI: http://eprints.soton.ac.uk/id/eprint/465256
PURE UUID: e5e81881-9001-4436-bf95-13892af700d8
Catalogue record
Date deposited: 05 Jul 2022 00:32
Last modified: 05 Jul 2022 00:32
Export record
Contributors
Author:
Antonio Cascelli
Download statistics
Downloads from ePrints over the past year. Other digital versions may also be available to download e.g. from the publisher's website.
View more statistics