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
Committee:
Elliott Antokoletz, supervisor
Andrew Dell’Antonio
D. Kern Holoman
K. M. Knittel
David Neumeyer
Page 156
139
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.
Page 157
140
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
Page 311
294
Vita
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
Page 312
295
vita
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
www.michaeljmalone.com
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
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
Committee:
Elliott Antokoletz, supervisor
Andrew Dell’Antonio
D. Kern Holoman
K. M. Knittel
David Neumeyer
Page 156
139
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.
Page 157
140
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
Page 311
294
Vita
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
Page 312
295
vita
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
www.michaeljmalone.com
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
