Dissertation Index



Author: Yoshikawa, Christine M

Title: Rachmaninoff’s Integrative Technique and Structural Organization: A Schenkerian Analysis of Allegro Moderato, from Piano Sonata No. 1 in D Minor, Opus 28

Institution: Arizona State University

Begun: September 1998

Completed: May 2004

Abstract:

This document, an analysis of the Allegro Moderato movement from Piano Sonata No. 1 in D Minor, Op. 28 by Sergei Vassilyevich Rachmaninoff (1873-1943), utilizes analytical techniques developed by Austrian theorist Heinrich Schenker (1868-1935). It comprises two parts: 1) a study that applies the Schenkerian model of tonal analysis; and 2) a commentary on the work’s motivic and structural cohesion, and performance. Through graphing, the author will illustrate how the harmonic progressions, motivic/cellular units, and voice-leading patterns that occur within a phrase or section also serve as the basis for the overall structure of the entire movement. The graphic analysis will also represent hierarchical processes and reveal how the movement unfolds through elaboration and diminution of the fundamental structure. It is hoped that the resulting analysis will not only draw attention to the interrelationships of larger structural units at different levels, but will also guide performers toward their personal discoveries of intrinsic musical meaning, and lead them to grasp the underlying intentions of the composer. The result will be a more profound interpretation that is indispensable in presenting an authentic performance.

Keywords: Rachmaninoff, Rachmaninov, Piano Sonata No. 1, perception, cognition, Schenkerian Analysis, Schenker, Dissertation, Theory, Piano, Sonata

TOC:

TABLE OF CONTENTS

CHAPTER
I INTRODUCTION
Levels and Fundamental Structure
Motivic Unity
Application of Schenkerian Analysis to Performance
Conclusion

II A HISTORICAL OVERVIEW
Life of Sergei Rachmaninoff: Pianist, Conductor, and Composer

Piano Sonata No. 1 in D Minor, Op. 28

III APPLICATION OF SCHENKERIAN THEORY
Introduction
Exposition: Measures 1 - 116.1
Introduction: Measures 1 - 14
First Theme: Measures 15 - 44 and Structural ^5
Transition: Measures 45 - 73.1
Theme 2: Measures 73.2 - 103
Structural ^4 and Transition:
Measures 103 - 116.1

Development: Measures 116.2 - 237
Measures 116.2 - 171

Measures 172 - 238

Recapitulation and Coda: Measures 238 — 357

Structural ^3 and Restatement of
Introduction/Theme 2:
Measures 238 - 256.1

Restatement of Theme 1:
Measures 256 - 273.1

Restatement of Theme 2: Measures 273.2 - 297

Structural Dominant and ^2:
Measures 297 - 319

Structural ^1 and Restatement of Second
Transition: Measures 319 - 339.1

Coda: Restatement of Theme 2 and Introduction: Measures 339.2 - 350

IV CLOSING REMARKS: PERSPECTIVE ON ANALYSIS AND
PERFORMANCE

REFERENCES

APPENDIX
A Notational Symbols and Abbreviations
B GRAPHIC ANALYSIS: Allegro Moderato from Piano Sonata No. 1, Op. 28 by Sergei Rachmaninoff

Contact:

Dr. Christine M. Yoshikawa
Florida State University
Email: christinemari@christineyoshikawa.com

Date Listed: 05/22/2006


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