Term | Value | Language |
---|---|---|
dc.contributor.advisor | Rodgers, Stephen | |
dc.contributor.author | Mastic, Timothy | |
dc.date.accessioned | 2015-08-18T23:00:11Z | |
dc.date.available | 2015-08-18T23:00:11Z | |
dc.date.issued | 2015-08-18 | |
dc.identifier.uri | http://hdl.handle.net/1794/19231 | |
dc.description.abstract | This thesis approaches Haydn’s sonata-form procedures from the perspective of the eighteenth-century listener, asking, if a moment is allegedly “witty” according to modern analysts, would Haydn's contemporary audience have heard it as such? Eighteenth-century wit has two sides: wit involves an aspect of surprise or deception, a breaking of understood norms; however, wit must also involve an unsuspected congruity, a broader connection created only by breaking the aforementioned norm. Taking this as my starting point, I explore false recapitulations in the Haydn’s music, concluding that this device cannot be considered witty because it did not break an understood convention. I then provide detailed analyses of the first movements of Haydn’s “Military” Symphony no. 100 and String Quartet in D major, op. 33 no. 6, arguing that they are witty not solely because they are disruptive, but because this disruption binds the sonata together in an unexpected way. | en_US |
dc.language.iso | en_US | |
dc.publisher | University of Oregon | |
dc.rights | Creative Commons BY-SA 4.0-US | |
dc.subject | Formenlehre | en_US |
dc.subject | Haydn | en_US |
dc.subject | Quartet | en_US |
dc.subject | Sonata | en_US |
dc.subject | Symphony | en_US |
dc.subject | Wit | en_US |
dc.title | Normative Wit: Haydn's Personal Sonata Form | |
dc.type | Electronic Thesis or Dissertation | |
thesis.degree.name | M.A. | |
thesis.degree.level | masters | |
thesis.degree.discipline | School of Music and Dance | |
thesis.degree.grantor | University of Oregon |