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TitleSymbols of Transformation
File Size3.1 MB
Total Pages312
Table of Contents
Committee Certification
Title Page
List of Music Examples, Figures, and Tables
Chapter 1: Imaginary Boundaries
Chapter 2: Organicism and Developing Variation
Chapter 3: Hierarchical Categorization & Metonymy
Chapter 4: Allusion, Frames, and Narratives of Fate
Chapter 5: Bartók's Concerto for Orchestra
Document Text Contents
Page 1

Copyright ' ���� by Michael John Malone

All rights reserved

Page 2

The Dissertation Committee for Michael John Malone certifies

that this is the approved version of the following dissertation:

Symbols of Transformation: Reconceptualizing the Boundaries

of Organicism in the Music of Béla Bartók


Elliott Antokoletz, supervisor

Andrew Dell’Antonio

D. Kern Holoman

K. M. Knittel

David Neumeyer

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chapter 3 ◆ hierarchical categorization & Metonymy

relationship between unusual features of the formal design and their

precedents on the surface.

One of the intriguing aspects of the introduction to the first

movement of Tchaikovsky’s Fourth Symphony is the tonal ambigu-

ity created by the twelve repeated Abs at the beginning of the piece

(see example 3.1). Recalling the opening of Beethoven’s Fifth (in

more ways than one) we have no indication of what key we might

be in until we get the addition of the pitches F–G–Ab in measure 3

(which could, of course, still indicate Ab major). F minor is, however,

confirmed in measure 4, and by the descending scale that follows.

This new stability is immediately undermined by the modal mix-

ture of the harmony as the fanfare repeats. Ab is recontextualized

(m. 7) as the third of a major triad built on scale degree 7̂ (which

we might label as a VIIå�3 chord in F minor with a misspelled third:

example 3.1 Tchaikovsky, Symphony No. 4, movement I,
mm. 1–7.

Bsn., Hn.

+ Tbn., Tba.

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chapter 3 ◆ hierarchical categorization & Metonymy

Ab instead of G#). At the end of the second statement of the fanfare

we get a descending series of chords that punctuate the fanfare as

it gets quieter and quieter (see example 3.2). In this sequence of five

chords in example 3.2, Ab is the common tone (note that the spelling

Ab—instead of G#—in the augmented triad, III&, also avoids point-

ing toward the dominant function of this chord [C–E–G# would in-

dicate a V&] despite its dominant sound.) In this sequence—as well as

over the course of the entire introduction—Ab acts as b3̂ in the tonic

harmony (F minor), as the major third in a chord that sounds like

an E major triad (though it is not spelled as a nameable triad), and as

the bass note of an augmented triad. There is a brief transition (pp)

in the clarinet and bassoon that leads directly into the first theme of

the exposition (also unexpectedly quiet for a first theme).

The tripartite first theme group (P) is monothematic: the theme

is presented in F minor (m. 27ff.), A minor (m. 70ff.), and then again

in F minor (m. 92ff.). After a brief transition (mm. 104–115), the sec-

ond theme group begins at measure 116 in Ab minor. The second

theme group also has three main subdivisions: S1 (Moderato assai,

quasi Andante, m. 116ff.); S� (Ben sostenuto il tempo precedente, m.

134ff.); and S� (an extended section two bars after the Moderato con

anima [Tempo del comincio], m. 161ff.). In a bit of foreshadowing,

the first sub-section (S1) divides into three parts—moving from Ab

minor to B major and back to Ab minor—before a V/B sets up the

more extended move from the overall Ab minor of S1 to the B ma-

jor/minor of S� and S�. (This modulation also includes a change of

key signature from four flats to five sharps that highlights the tritone

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Michael John Malone was born in San Francisco, California, on

24 November 1972, the son of Barbara Mary Malone and John Al-

exander Malone. He attended Terra Nova High School in Pacifica,

CA, and concurrently took music classes at Skyline College in San

Bruno, CA. In 1990 Malone entered the University of California, Da-

vis, where he earned the B.A. in music. From 1995 to 2001 he was the

Assistant Production Manager for the Department of Music at UC

Davis, and Assistant Conductor of the UC Davis Symphony Orches-

tra. During this period Malone was a member of the university’s

communications committee and the five member architectural dia-

grams review committee for the $60.9 million Robert and Margrit

Mondavi Center for the Performing Arts. He received a staff rec-

ognition award for outstanding service to the College of Letters &

Science. Malone is also a master compositor of musical scores, and

has typeset music examples for books published by Schirmer, Pren-

tice Hall, Oxford University Press, and The University of California

Press, and typeset and edited scores for the music publisher J. B.

Elkus. He has served as the interim conductor of the UC Davis Sym-

phony (1997), and interim faculty director for the UC Davis March-

ing Band (1998, 2001). In 2001 Malone entered graduate school at

The University of Texas at Austin. He received the James Moeser

Fellowship in Historical Musicology (2001) and was elected to the

Phi Kappa Phi honor society. He was a T.A. for MUS 302L (Intro

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to Western Music, for non-majors) and MUS 313N (19th- and 20th-

Century Music, for music majors). Malone received the M.M. in mu-

sic from The University of Texas at Austin in 2003, and received the

Texas Exes Teaching Award in February 2004. He has taught MUS

302L (History of Western Music) as the instructor of record several

times to critical acclaim, and was the first graduate student invited

by the Center for Teaching Effectiveness at UT Austin to present a

seminar (“Establishing Authority in the Classroom”) to incoming

graduate student instructors. Malone has been the keynote speaker

at the UC Davis Chancellor’s Club prior to a performance of The

Beggar’s Opera, and has presented a paper on the William E. Valente

Memorial Lecture Series at UC Davis. He has also given papers at

the Gamma-UT conference at UT Austin, and at the Kalamazoo In-

ternational Congress of Medieval Studies. His compositions include

music for brass quintet, string quartet, piano and voice, chorus, and

orchestra, and he has arranged over 40 pieces for marching band,

trombone choir, and brass quintet. He currently sings with the Co-

lumbus Symphony Chorus.

Permanent Address:

52 W Dodridge St
Columbus, OH 43202

This dissertation was typed by the author.

Text typeset by the author with Adobe InDesign
Music examples typeset by the author with Sibelius

Adobe Minion Pro 12/21.6
Opus Text

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