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    Centrifugal Transformations and Referential Collections in the Music of Fauré, Debussy, and Lili Boulanger

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    Genre
    Thesis/Dissertation
    Date
    2020
    Author
    Kiple, Matthew Rule
    Advisor
    Folio, Cynthia
    Committee member
    Latham, Edward David
    Klein, Michael Leslie
    Straus, Joseph Nathan
    Department
    Music Theory
    Subject
    Music Theory
    Boulanger
    Collection
    Debussy
    Fauré
    French
    Transformation
    Permanent link to this record
    http://hdl.handle.net/20.500.12613/3122
    
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    DOI
    http://dx.doi.org/10.34944/dspace/3104
    Abstract
    In this dissertation, I systematize transformations among chords, referential collections, and their constituent subsets, as exemplified in analyses of music by Gabriel Fauré, Claude Debussy, and Lili Boulanger. I characterize the effect of these transformations by supplanting notions of consonance and dissonance with a physics metaphor—the dichotomy and interdependence of centripetal and centrifugal force—to emphasize transformational processes over synchronic constructs, particularly notions of distance. Drawing from intercardinal voice-leading principles of transformational theory and graphical models of neo-Riemannian theory, I demystify harmonic/tonal practices salient in early twentieth-century French music, connect such practices with those of preceding tonal/evolutionary stages, and posit the effect of these practices in a way that reflects their intrinsically diachronic, centrifugal nature. I ultimately offer what I call “Collection Space”—a parsimonious intercardinal voice-leading space for maximally and nearly even sets—as a representative transformational space of French scalar tonality, analogized with the pan-triadic and Tristan-genus systems. My findings yield a revitalized approach to analyzing works by Debussy and Fauré as well as provide a rigorous analytical account of Lili Boulanger’s music hitherto unexplored.
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