## Dissertation Index

Author: Khannanov, Ildar
Title: Russian Methodology of Music Theory and Analysis
Institution: University of California, Santa Barbara
Begun: August 1997
Completed: December 2003
Abstract: The subject of this dissertation is the interaction between two prominent systems of theory that were practiced in the Soviet Union. These two systems are identified by Russian theorists as "form analysis" and "integral analysis." To this day, they remain central to Russian musical thought. Most of the debates involving formalists and integralists have remained unwritten, and unpublished. The debates have existed in the form of a decades-long confrontation that has never left the walls of the main conservatories. Some of the complex ideas behind this discussion can be explained by references to Western currents in music theory and philosophy, while other ideas have more mysterious origins. The latter deserves explanation both from within and from without the Russian theoretical tradition. This dissertation presents a selective approach to the issues and concerns of Russian music theory, focusing on form analysis and integral analysis. The method used corresponds to the task of describing the debate between “integralists" and "formalists." It is therefore neither a historical overview of Russian musical culture, nor a comprehensive guide to all Russian analytical techniques. Rather, it is an attempt to discuss the origins of the most essential concepts and their clashes during the Soviet period. Keywords: Music Theory, Analysis, Form, Russian, Soviet, Integral Analysis, Musical Work
TOC: CONTENTS INTRODUCTION 1) The Subject of the Dissertation, General Premises and Method of Research…………………………………………………………. 1 2) Early Russian Music Theory: Archetypal Ideas, Precursors of Integral Analysis……………………………………………………………………... 5 3) Music Theory in Russia Since the Seventeenth Century………………. 13 4) The Main Dilemma of Soviet Theory: Integral Analysis vs. Formal Analysis……………………………………………………………………. 20 5) Coexistence of Both Doctrines in the Conservatory Programs 47 I. PART ONE. FORM ANALYSIS……………………………………………... 51 1) The Notion of a Russian Theory of Form……………………………… 51 2) Harmony And Its Relation to Form……………………………………. 97 3) Riemann’s Metric Period as as Model for Periodic Forms…………… 130 4) Building Form With Motives……………………………………….. 137 5) Smaller Forms: Segmentation and Thematic Structure………………... 148 6) Kholopova’s Concept of Rhythm……………………………………... 157 7) A. B. Marx’s Principles of Forms in Russian Theory. Sonata and the Five Rondo Forms……………………………………………………………... 170 8) The Idea of Formal Function………………………………………….. 179 9) Symphonicism: Discussions of the Essence of Music………………... 182 10) Sample of Form Analysis. Kholopov: Concert Form in Music of J. S. Bach………………………………………………………………………. 196 PART TWO. INTERGRAL ANALYSIS……………………………………… 208 1) The Notion of Integral Analysis……………………………………… 208 2) Integral Analysis and the Phenomenology of a Musical Work………. 213 3) Intonatsia. Asafiev, Yavorsky………………………………………… 224 4) Valentina Kholopova’s Concept of Aesthetic Harmony……………… 226 5) Historiography of Forms……………………………………………… 231 6) Affectenlehre and its Influence on Integral Analysis…………………. 233 7) Theory of Genre Transformation (Zhanrovaya Transformatsia). Generalization Through the genre (Obobschenie Cherez Zhanr)………... 238 8) The Language of Analysis; Analysis as Musicianship……………….. 243 9) How Does Integral Analysis Work? Victor Zukkerman’s Analysis of Kamarinskaya. Integral Analysis as a Procedure………………………... 245 10) Further Development of Integral Analysis…………………………... 255 11) Legacy of the Nineteenth Century in Integral Analysis……………... 258 CONCLUSION………………………………………………………………… 262 WORKS CITED……………………………………………………………….. 266 APPENDIX…………………………………………………………………….. 271 Contact: Dr. Ildar Khannanov 5124 NW 163rd Street Edmond, OK 73013 (405) 216 08 02 |