Title page for ETD etd-07142006-104355

Type of Document

Master's Thesis

Author

Steinbron, Matthew James

Author's Email Address

mstein6@lsu.edu

URN

etd-07142006-104355

Title

Background Conglomerates in Alkan's "Quasi-Faust," Op. 33, No. 2

Degree

Master of Music (M.M.)

Department

Music

Advisory Committee

Advisor Name	Title
Samuel Ng	Committee Chair
Jeffrey Perry	Committee Member
Victoria Johnson	Committee Member

Keywords

grande sonate op. 33 no. 2
concentric tonaltiy
eccentric tonality
directional tonality
progressive tonality
interlocking structures
non-monotonality
monotonality
non-concentric
Harald Krebs
Schenker
sonata form
octave lines
quasi-Faust
Charles Alkan
elided Ursatze
background conglomerates

Date of Defense

2006-07-10

Availability

unrestricted

Abstract

Various approaches have been used over the past 50 years to describe and analyze works that exhibit tonality but have more than one tonic. This paper focuses solely on a subcategory of such works: those that begin in one key and end in another, the first key being permanently replaced by the second. The most prominent systems of terminology and analysis for such works include “progressive tonality,” “directional tonality,” “interlocking structures,” and “background conglomerates.” After examining these systems, “background conglomerates” is determined to best suit works that permanently change tonics. This approach, which was introduced by Harald Krebs, employs a Schenkerian based style of analysis to show that two Ursätze are present in the background of these works. Applying Krebs’s style of analysis reveals that many different structures can occur in background conglomerates, one of which has never been identified: elided Ursätze. The possibilities for elided Ursätze are explored and Alkan’s Quasi-Faust, the second movement of his Grande Sonate op. 33, is provided as an example. The effects that the elided Ursätze has on the sonata form and octave line of Quasi-Faust are also addressed.

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