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T he E nd of D ie F een and W agner's B eginnings : M ultiple A pproaches to an E arly E xample of D ouble ‐T onic C omplex , A ssociative T heme and W agnerian F orm

T he E nd of D ie F een and W agner's B eginnings : M ultiple A pproaches to an E arly E xample... ABSTRACT Examples of directional tonality, associative tonality, associative theme and motivic parallelism all appear in the Act III Finale to Die Feen, Wagner's first complete opera. The inter‐relationships evident among these compositional principles foreshadow a level of sophistication usually attributed to the more mature music dramas, suggesting that the keys to unlocking das Geheimnis der Form can, in some senses, be found in an understanding of the earlier works. The present study adopts a range of theoretical paradigms in order to address the variety of Wagner's musical and dramatic techniques. Used in conjunction, Schenkerian generative views of tonality, Robert Bailey's dramatic‐tonal concepts, neo‐Riemannian transformations and an understanding of thematic association enable a series of analytical observations unattainable through any single interpretative approach. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Music Analysis Wiley

T he E nd of D ie F een and W agner's B eginnings : M ultiple A pproaches to an E arly E xample of D ouble ‐T onic C omplex , A ssociative T heme and W agnerian F orm

Music Analysis , Volume 25 (3) – Oct 1, 2006

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Publisher
Wiley
Copyright
Copyright © 2006 Wiley Subscription Services, Inc., A Wiley Company
ISSN
0262-5245
eISSN
1468-2249
DOI
10.1111/j.1468-2249.2006.00245.x
Publisher site
See Article on Publisher Site

Abstract

ABSTRACT Examples of directional tonality, associative tonality, associative theme and motivic parallelism all appear in the Act III Finale to Die Feen, Wagner's first complete opera. The inter‐relationships evident among these compositional principles foreshadow a level of sophistication usually attributed to the more mature music dramas, suggesting that the keys to unlocking das Geheimnis der Form can, in some senses, be found in an understanding of the earlier works. The present study adopts a range of theoretical paradigms in order to address the variety of Wagner's musical and dramatic techniques. Used in conjunction, Schenkerian generative views of tonality, Robert Bailey's dramatic‐tonal concepts, neo‐Riemannian transformations and an understanding of thematic association enable a series of analytical observations unattainable through any single interpretative approach.

Journal

Music AnalysisWiley

Published: Oct 1, 2006

References