CONSERVATIVE AND PROGRESSIVE ASPECTS OF THE SONATA FROM LATE BEETHOVEN TO PROKOFIEV
CONSERVATIVE AND PROGRESSIVE ASPECTS OF THE SONATA FROM LATE BEETHOVEN TO PROKOFIEV
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Date
2004
Authors
Chang, Won Young
Advisor
Dedova, Larissa
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Abstract
The term 'sonata' arose in the early seventeenth-century Baroque period and was
originally used to distinguish instrumental (sonata) music from vocal music. Later. the
sonata style, as a reliable yet flexible compositional framework, was extensively shaped
and utilized throughout the Classical period.
Subsequently, in the Romantic period, freer creative, individualistic. and
expressive musical elements began to be preferred by composers in their use of harmonj.,
tone color, form, and rhythm. However, even during the revolutionary Romantic period
in music. the compositions which did not have a pre-defined format (character pieces,
etc) were often comfortably framed and limited within the recognizable boundaries
provided by the Classical sonata style.
The sonata format, when used as a tool in musical composition, provides logical
boundaries that may serve to organize any unexpected emotional expressions on the part
of the composer. Yet the sonata framework is also flexible enough to allow freedom of
expression. In the Romantic period and beyond, composers had relied, some more than
others, upon the sonata's adaptable blend of stability and flexibility. In my opinion, it is
more persuasive to express oneself musically within the framework of an established
musical style. Thus, I have chosen my dissertation topic as the performance of six
pieces incorporating elements of the reliable and flexible sonata style.
The sonata of each composer that I have selected clearly demonstrates a tension
between logic and emotion expressed within the sonata framework. However, the
compositions can be divided interestingly into two groups, such as 'conservative' and
'progressive' group. The 'conservative' group consists of composers who seemed to
strive for greater freedom of self-expression within the constraints of the traditional
sonata form. On the other hand, the 'progressive' group consists of composers who
seemed more to rely upon the sonata form to rein in and add stability to their highly
individual and emotional musical ideas. It is my hope that this project will provide a
stimulating viewpoint from which to consider the evolution and utilization of the sonata
style especially as it is applied to the composition and performance of these six diverse
and interesting pieces.