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Summary:

Abstract: Heinrich Schenker's concept of the auxiliary cadence can be considered as a middleground manifestation of the Ursatz; his definition of the auxiliary cadence caters only to tonal compositions with a single background tonic, such as Brahms's songs. However, there exist compositions in which the a single background tonic cannot be easily ascertained. Such unorthodox compositions, in fact, can be found even prior to Brahms's songs. In such cases, although the opening and closing tonics are different and are often categorized as large-scale auxiliary cadence structured compositions, they do not operate within the single-tonic based tonal paradigm upon which Schenker formed his idea of the auxiliary cadence. Such compositions may be approached as a novel type of auxiliary cadence and described as "process-driven." The thesis presents and contrasts examples of both types of auxiliary cadences in songs by Schubert, Brahms, and Berg.

Author/Creator:

Wang, He , author

Contributors:

Jackson, Timothy , major professor

Languages:

English

Language Notes:

Item content: English

Main Work:

A Study of Large-Scale Auxiliary Cadence Types in Songs of Schubert, Brahms and Berg [by Wang, H.]

Related Series:

NT thesis, Music (Complete); [volume] 2022

Genres:

Academic theses

Dissertation Notes:

M.A. ― University of North Texas, 2022.

General Notes:

Includes bibliographical references.
Description based on: Online resource; title from PDF title page (UNT Digital Library, viewed ---).

Physical Description:

1 online resource (74 pages).

Call Numbers:

Electronic Thesis