From diminution to autonumous themes in Schenkerian theory : bridging the divide between tonally organic and modern thematic music

Includes abstract and vita.This dissertation argues that Heinrich Schenker's mature analytical techniques, including the Urlinie-tafel, have a special relationship to musical sound, effect, and indivuality in interpretation, and that issues in performance hold the key to extending Schenkerian theory to music outside the Schenkerian canon. Modernizing Schenkerian theory requires addressing Schenker's concept of synthesis in composition, performance and listening. Traditional adaptations of Schenker's original theory have focused primarily on constructs of tonality, prolongation, and voice leading as though one set of concepts illuminates both Schenker's original work and its modernization. Yet Schenker's original project was driven by an unrelenting concern for the musical effect of the Fundamental Structure's organic unity in performance and listening, relating all motivic, melodic and harmonic details. Here Schenker's theory is modernized through similar concerns but with an original organiic-thematic grouping method for late 19th and early 20th century music. It unites the essential strength of Schenker's and Schoenberg's divergent concepts of organic unity. Chapter 1 critiques research on post-tonal prolongation, as well as research on analysis and performance. Chapter 2 argues that Schenker's theory of the Ursatz pertains to both analysis and performance and is best understood through the improvisatory impulse. It proposes a modified background-foreground structure for what may generally be called thematic music, requiring a hybrid prototype for organic and thematic analysis. Chapter 3 analyzes Beethoven's Piano sonata op. 57, first movement, integrating Schenker's own analytical perceptions and expanding the layers to accomodate the effect of unity in performance. Chapter 4 introduces the technique of organic-thematic hybrid analysis with a graph of List's Wilde Jagd, including a new notation for structural themes that balance the Schenkerian notion of compositing out with the concept introduced here of composing in. Chapter 5 continues that argument in an analysis of Ravel's Ondine. Chapter 6 offers and exploration of synthesis in tonal styles outside the work concept, and additional styles within the work concept