{"title":"舒伯特一些文本和器乐作品中的重述压缩","authors":"J. Guez","doi":"10.30535/mto.26.2.5","DOIUrl":null,"url":null,"abstract":"The thematic organization of musical reprises and recapitulations has not received as much attention as that of expositions. One reason for this is the assumption that recapitulations are simply retracings of thematic paths already plotted in the exposition, with their tonal profiles adjusted to remain in the tonic. The present article seeks to complexify this view by devoting analytic and interpretive attention to a handful of refrains, reprises, and recapitulations that feature deletions of some of their referential thematic material. My primary claims are, first, that such recapitulatory compressions afford feelings of temporal and perspectival distortion (such as “too soon” or “too close” or “too large”) to listeners and to virtual protagonists, and second, that they work in concert with aspects of the presented content of the movements at hand—text, topic, mode, and so on—to project complex and multifaceted musical narratives. Examples come from poetry, song, and instrumental music and include Goethe's “Erster Verlust” and Schubert's setting of it (D. 226); Müller's “Täuschung” and “Die Nebensonnen” and Schubert's settings of them (D. 911); and Schubert's Allegro in A minor for Four hands, “Lebensstürme,” D. 947.","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":null,"pages":null},"PeriodicalIF":0.4000,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"1","resultStr":"{\"title\":\"Recapitulatory Compressions in Some Texted and Instrumental Works by Schubert\",\"authors\":\"J. Guez\",\"doi\":\"10.30535/mto.26.2.5\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"The thematic organization of musical reprises and recapitulations has not received as much attention as that of expositions. One reason for this is the assumption that recapitulations are simply retracings of thematic paths already plotted in the exposition, with their tonal profiles adjusted to remain in the tonic. The present article seeks to complexify this view by devoting analytic and interpretive attention to a handful of refrains, reprises, and recapitulations that feature deletions of some of their referential thematic material. My primary claims are, first, that such recapitulatory compressions afford feelings of temporal and perspectival distortion (such as “too soon” or “too close” or “too large”) to listeners and to virtual protagonists, and second, that they work in concert with aspects of the presented content of the movements at hand—text, topic, mode, and so on—to project complex and multifaceted musical narratives. Examples come from poetry, song, and instrumental music and include Goethe's “Erster Verlust” and Schubert's setting of it (D. 226); Müller's “Täuschung” and “Die Nebensonnen” and Schubert's settings of them (D. 911); and Schubert's Allegro in A minor for Four hands, “Lebensstürme,” D. 947.\",\"PeriodicalId\":44918,\"journal\":{\"name\":\"Music Theory Online\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.4000,\"publicationDate\":\"2020-06-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"1\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Music Theory Online\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.30535/mto.26.2.5\",\"RegionNum\":2,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"MUSIC\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Music Theory Online","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.30535/mto.26.2.5","RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"MUSIC","Score":null,"Total":0}
Recapitulatory Compressions in Some Texted and Instrumental Works by Schubert
The thematic organization of musical reprises and recapitulations has not received as much attention as that of expositions. One reason for this is the assumption that recapitulations are simply retracings of thematic paths already plotted in the exposition, with their tonal profiles adjusted to remain in the tonic. The present article seeks to complexify this view by devoting analytic and interpretive attention to a handful of refrains, reprises, and recapitulations that feature deletions of some of their referential thematic material. My primary claims are, first, that such recapitulatory compressions afford feelings of temporal and perspectival distortion (such as “too soon” or “too close” or “too large”) to listeners and to virtual protagonists, and second, that they work in concert with aspects of the presented content of the movements at hand—text, topic, mode, and so on—to project complex and multifaceted musical narratives. Examples come from poetry, song, and instrumental music and include Goethe's “Erster Verlust” and Schubert's setting of it (D. 226); Müller's “Täuschung” and “Die Nebensonnen” and Schubert's settings of them (D. 911); and Schubert's Allegro in A minor for Four hands, “Lebensstürme,” D. 947.
期刊介绍:
Music Theory Online is a journal of criticism, commentary, research and scholarship in music theory, music analysis, and related disciplines. The refereed open-access electronic journal of the Society for Music Theory, MTO has been in continuous publication since 1993. New issues are published four times per year and include articles, reviews, commentaries, and analytical essays. In addition, MTO publishes a list of job opportunities and abstracts of recently completed dissertations.