Piano Sonata No. 3, Op. 36 by Karol Szymanowski: Musical and Historial Influences

Persistent Link:
http://hdl.handle.net/10150/193669
Title:
Piano Sonata No. 3, Op. 36 by Karol Szymanowski: Musical and Historial Influences
Author:
Kim, Ji-Young
Issue Date:
2010
Publisher:
The University of Arizona.
Rights:
Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author.
Abstract:
Polish composer, Karol Szymanowski (1882-1937) wrote a substantial number of piano works from 1899-1934, yet these works have been mostly forgotten or ignored outside his country. Szymanowski scholars divide his works into three periods. The second period represents the most radical shift in his compositional style particularly in his treatment of form, harmony and texture. This study demonstrates the musical and historical influences evident in his Piano Sonata No. 3, Op. 36 (1917), the last piano work written during his second period. Piano Sonata No. 3 exhibits elements of two contrasting styles, French Impressionism and German Romanticism. Manifestations of Szymanowski's Polish musical heritage and his cultural and social isolation during the years of the First World War (1914-1918) are also found in this sonata.This study also provides a detailed analysis of Piano Sonata No.3 in terms of form, motivic unity, thematic development, harmony, and texture. Another important aspect of my study is the extensive use of musical examples drawn from the works of Debussy, Ravel, Wagner and Strauss to demonstrate the musical influences of both French Impressionism and German Romanticism in his third sonata. In this sonata, Szymanowski mirrors French Impressionistic sound and texture through the common use of whole-tone and pentatonic scales as well as unresolved harmonies, trills, 4ths and 9ths. While drawing upon these particular techniques of Debussy and Ravel, Szymanowski's third sonata retains strong German roots in the use of motivic unity, chromaticism and textural crescendi such as those found in the operas of Wagner and Strauss.
Type:
text; Electronic Dissertation
Keywords:
Historical Influence; Musical Influence; Piano Sonata No. 3; Szymanowski
Degree Name:
D.M.A.
Degree Level:
doctoral
Degree Program:
Music; Graduate College
Degree Grantor:
University of Arizona
Advisor:
Gibson, Tannis
Committee Chair:
Gibson, Tannis

Full metadata record

DC FieldValue Language
dc.language.isoenen_US
dc.titlePiano Sonata No. 3, Op. 36 by Karol Szymanowski: Musical and Historial Influencesen_US
dc.creatorKim, Ji-Youngen_US
dc.contributor.authorKim, Ji-Youngen_US
dc.date.issued2010en_US
dc.publisherThe University of Arizona.en_US
dc.rightsCopyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author.en_US
dc.description.abstractPolish composer, Karol Szymanowski (1882-1937) wrote a substantial number of piano works from 1899-1934, yet these works have been mostly forgotten or ignored outside his country. Szymanowski scholars divide his works into three periods. The second period represents the most radical shift in his compositional style particularly in his treatment of form, harmony and texture. This study demonstrates the musical and historical influences evident in his Piano Sonata No. 3, Op. 36 (1917), the last piano work written during his second period. Piano Sonata No. 3 exhibits elements of two contrasting styles, French Impressionism and German Romanticism. Manifestations of Szymanowski's Polish musical heritage and his cultural and social isolation during the years of the First World War (1914-1918) are also found in this sonata.This study also provides a detailed analysis of Piano Sonata No.3 in terms of form, motivic unity, thematic development, harmony, and texture. Another important aspect of my study is the extensive use of musical examples drawn from the works of Debussy, Ravel, Wagner and Strauss to demonstrate the musical influences of both French Impressionism and German Romanticism in his third sonata. In this sonata, Szymanowski mirrors French Impressionistic sound and texture through the common use of whole-tone and pentatonic scales as well as unresolved harmonies, trills, 4ths and 9ths. While drawing upon these particular techniques of Debussy and Ravel, Szymanowski's third sonata retains strong German roots in the use of motivic unity, chromaticism and textural crescendi such as those found in the operas of Wagner and Strauss.en_US
dc.typetexten_US
dc.typeElectronic Dissertationen_US
dc.subjectHistorical Influenceen_US
dc.subjectMusical Influenceen_US
dc.subjectPiano Sonata No. 3en_US
dc.subjectSzymanowskien_US
thesis.degree.nameD.M.A.en_US
thesis.degree.leveldoctoralen_US
thesis.degree.disciplineMusicen_US
thesis.degree.disciplineGraduate Collegeen_US
thesis.degree.grantorUniversity of Arizonaen_US
dc.contributor.advisorGibson, Tannisen_US
dc.contributor.chairGibson, Tannisen_US
dc.contributor.committeememberFan, Paulaen_US
dc.contributor.committeememberWoods, Rexen_US
dc.identifier.proquest11363en_US
dc.identifier.oclc752261228en_US
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