Dissertation Index
Author: Carter, Chandler Title: The Progress in "The Rake's" Return Institution: The City University of New York Begun: August 1992 Completed: January 1995 Abstract: Igor Stravinsky's opera The Rake's Progress (1948-51) represents a culmination of the composer's neo-classical period (ca. 1920 to ca. 1951), the works of which are characterized by the adaptation of tonal conventions from the distant past into a modern, post-tonal context. The stylistic variety contained in such music poses challenges that defy any single-faceted analysis. The analytical model developed in this paper incorporates tonal and post-tonal approaches, grouping Schenkerian tonal graphs, basic motivic analysis and set, theory. Such an approach offers a field on which to make connections and measure distinctions between diverse elements. More importantly, this model allows for the disjunctions, abrupt juxtapositions and discontinuity that characterizes so much of Stravinsky's music. The important dramatic effects of such stylistic play on the listener are also addressed. The story of The Rake's Progress is itself an exploration of the issue of artistic progress and return. The choices that the opera's characters confront reflect important choices that an artist must make. Because Stravinsky subsequently abandoned neo-classicism in favor of a more uniformly modern serialism, the opera offers an insight into the choices of its own creator. Keywords: Igor Stravinsky, "The Rake's Progress", neo-classical, pluralistic analysis, W. H. Auden, Schenkerian analysis, Set theory, motivic analysis, theatrical distance TOC: INTRODUCTION Meaning in the Music of Stravinsky and his Classical models Style, Emotion and Theatrical Distance The Rake's Progress and the Modern Stage Chapter I. ANALYSIS: SEPARATING STYLES Act III, scene iii - Anne's Lullaby Act I, scene ii Chorus - "How sad a song" Prelude to Act III, scene ii II. THE STRUCTURE OF SCENES Act I, scene iii - Anne's Recitative, Aria and Cabaletta Act II, scene ii - Arioso, Duet, Trio and Finale Introduction and Arioso (R79-97) Servants Procession and Duet (R97-127) Trio (R127-142) Finale (R142-152) III. THE STORY AND ITS MORAL Music Without Time Timeless Music CONCLUSION Re-use of the Musical Past Since The Rake's Progress Analyzing Styles BIBLIOGRAPHY Contact: Chandler Carter 255 West 108th St. Apt. 2D New York, NY, 10025 105577.543@compuserv.com 212-666-5958 |