Thematic and Non-Thematic Textures in Schubert’s Three-Key Expositions

Duane, Ben

doi:10.1093/mts/mtx007

Cited by 5 publications

(3 citation statements)

References 16 publications

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“…100-104 (2014, 131). Viewing this passage from a textural perspective, in contrast, Duane (2017) analyzes mm. 60-137 in their entirety as the subordinate theme.…”

Section: Discussionmentioning

confidence: 99%

Schubert’s Large-Scale Sentences

Martinkus

2021

MTO

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In this article, I share findings from analysis of first-movement sonata forms composed by Franz Schubert from 1810 to 1828. This work builds on prior studies of nineteenth-century sentences (e.g., ".fn_cite($baileyshea_2002).", ".fn_cite($bivens_2018).", ".fn_cite($broman_2007).", ".fn_cite($vandemoortele_2011).", and ".fn_cite($krebs_2013)."), offering an in-depth investigation of Schubert’s use of expanded sentence forms. I theorize the typical qualities of Schubert’s large-scale sentences and highlight a particularly common type, in which the large-scale continuation phrase begins as a third statement of the large-scale basic idea (i.e., a dissolving third statement). I present four examples of this formal type as representative, drawn from the C Major Symphony (D. 944/i), the C Minor Piano Sonata (D. 958/i), the C Major String Quintet (D. 956/i), and the D Minor String Quartet (D. 810/i). My analytical examples invite the reader to contemplate the negotiation of surface-level paratactic repetitions with deeper hypotactic structures. These large structures invite new modes of listening; exemplify the nineteenth-century shift away from the relative brevity of Classical precursors in favor of expanded forms; and problematize facile distinctions between inter- and intrathematic functions. This formal type would eventually flourish over the course of the nineteenth century, underpinning many composers’ strategies for formal expansion.

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“…100-104 (2014, 131). Viewing this passage from a textural perspective, in contrast, Duane (2017) analyzes mm. 60-137 in their entirety as the subordinate theme.…”

Section: Discussionmentioning

confidence: 99%

Schubert’s Large-Scale Sentences

Martinkus

2021

MTO

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“…Recent publications have dealt with its historical evolution (Hunt 2009) and Schenkerian voice‐leading considerations (Hunt 2014), and with three‐part structures and digressions in Schubert's three‐key expositions (Grant 2018). Other studies introduce the concept of ‘deflected cadences’ (Black 2015) and a computational model of texture (Duane 2017), 1 and an even more complex phenomenon, the four‐key exposition, has been identified (Rusch 2016). 2 Yet to be examined in detail, however, is one simple, yet fundamental, question: how and where do composers go from the second key to the third key? 3 Although the cited studies do address this indirectly, no clear typology for these internal modulations has been established.…”

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confidence: 99%

“…11Surprisingly, Duane claims that ‘the second key [in a three‐key exposition] is always understood as structurally subordinate to the first and third key [… and] no analyses have contradicted this idea’ (2017, p. 36), yet I made that very claim three years previously (in the same journal), noting that, for example, Schubert's ‘Death and the Maiden’ String Quartet's exposition is ‘the best case [example of] a middleground I–III–V arpeggiation, in which the second key is not structurally subordinate’ to the first and third keys (Hunt 2014, pp. 253–6).…”

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Diverging Subordinate Themes and Internal Transitions: Assessing Internal Modulations in Three‐Key Expositions

Hunt¹

2020

Music Analysis

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Recent scholarship on the ‘three‐key exposition’ has drawn attention to its historical evolution, Schenkerian voice‐leading considerations and issues with cadences and internal ‘crises’ in Schubert's three‐key expositions. One question remains to be answered: How and where do composers get from the second key to the third? Using William Caplin's theory of formal functions to help classify those internal modulations, this paper will assess strategies employed in these unique expositional layouts. Using a range of works from Haydn to Tchaikovsky, a number of categories for such modulations are identified on the basis of their location within the relevant subordinate theme. These categories are then used to examine the nature of second modulations, and to adapt Caplin's theory to promote a clearer understanding of the harmonic richness and formal complexity of nineteenth‐century sonata style.

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Entropy, energy, and instability in music

Gündüz¹

2023

Physica A: Statistical Mechanics and its Applications

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Thematic and Non-Thematic Textures in Schubert’s Three-Key Expositions

Cited by 5 publications

References 16 publications

Schubert’s Large-Scale Sentences

Schubert’s Large-Scale Sentences

Diverging Subordinate Themes and Internal Transitions: Assessing Internal Modulations in Three‐Key Expositions

Entropy, energy, and instability in music

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