Musical borrowing is very common in music and occurs in a wide variety of genres and is used for many different reasons. While many scholars have commented on the procedure in twentieth-century music, this document explores the nature of musical borrowing in solo works of a single instrument, the viola. Paul Hindemith’s Der Schwanendreher (a viola concerto), Ernest Bloch’s Suite Hébraïque (for viola and piano), Grazyna Bacewicz’s Viola Concerto, and Dmitri Shostakovich’s Viola Sonata are all examined in terms of their musical borrowing. J. Peter Burkholder’s fourteen categories of musical borrowing are used to differentiate the types of borrowing that take place in these works. Interpretive issues are also carefully considered, as is the role of quotation and borrowing within the context of dialogue between solo and accompaniment. This document will contribute to the understanding of borrowing procedures in twentieth-century music as well as provide interpretative insight for violist.
|Commitee:||Fiser, Lee, Yim, Won-Bin|
|School:||University of Cincinnati|
|School Location:||United States -- Ohio|
|Source:||DAI-A 71/10, Dissertation Abstracts International|
|Keywords:||Bacewicz, Grazyna, Bloch, Ernest, Hindemith, Paul, Musical borrowing, Shostakovich, Dmitri|
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