A B S T R A C T Form and T o n a l i t y * The Symphony i s in th r e e movements, t h e f i r s t b e in g in s o n a ta a l l e g r o ( f i r s t movement) form, th e second h a v in g a c h a c o n n e - l ik e s t r u c t u r e , and th e t h i r d b e in g a double f u g u e . L ib e r - t i e s have been taken w it h each form as seemed m u s i c a l l y n e c e s s a r y in th e p r o c e s s o f c o m p o s it io n . A s m a ll number o f s h o r t b a s i c m o tiv e s have been u s e d th ro u g h o u t the Symphony to a c h ie v e u n i t y . A l l m o t i v i c m a t e r i a l may be found in th e o p en in g sta te m e n t in t h e c e l l o s and d o u b le b a s s e s . The Symphony i s i n th e t o n a l i t y o f o f mode and m o d u la tio n u s e d f r e e l y . w ith i n t e r c h a n g e a b i l i t y T r a d i t i o n a l key r e l a t i o n s b e ­ tween and w i t h i n movements have n ot been s t r i c t l y o b s e r v e d , 1« F i r s t Movement. The f i r s t s u b j e c t b e g in s on ”D", u s e s a l l t w e lv e t o n e s o f t h e ch ro m atic s c a l e (n o t in s t r i c t tone-row p r a c t i c e ) and r e t u r n s to "D". a l t e r e d form o c cu r on Subsequent s t a t e m e n t s in (page 2, measure 6 ) , and on (page 3 , measure 6 ) , The secon d s u b j e c t b e g i n s in 3 b m in o r (p age 1 0 f measure 4 ) , The coda (p age 1 8 , measure 1 ) b e g i n s in "B*, and th e developm ent op en s in "I)" in the same manner in w h ich the Symphony i t s e l f began (page 23, measure 3 ) . The r e c a p i t u l a t i o n commences in th e t o n a l i t y o f m easure l ) , (page 2 9 , a t a p o i n t which c o r r e sp o n d s to page 7, measure 1 o f the e x p o s i t i o n . in "D" (p ag e 4 1 ) , A s u g g e s t i o n o f the se co n d s u b j e c t ap p ears The coda to t h e movement b e g i n s in measure 3 , page 4 4 , in an i n d e t e r m in a t e k e y . The movement o l o s e s in "D". 2. Second Movement. which 16 The slo w movement op e n s w ith a s u b j e c t n o t t o n a l , bu t w hich p l a c e s th e to n e "D" a t two im p o r ta n t p o i n t s . The t o n a l i t y s h i f t s r a p i d l y th ro u g h o u t th e movement, which c l o s e s on a B m ajor t r i a d . Z. T h ird Movement. T h is movement, in form a dou ble f h g u e , i s in tr o d u c e d by a s h o r t s c h e r z o - l i k e i n t r o d u c t i o n b a s e d on a m o tiv e u sed in d im in u tio n from th e Second Movement. The four fugu e e n t r i e s are c a l c u l a t e d t o a l l o w th e t h i r d e n t r y , in th e l o w e s t v o i c e , (page 8 2 , m easure 4 ) t o e n t e r on "D*. The fugue e x p o s i t i o n c l o s e s in (page 8 4 ) . S u bseq uent d evelo p m en t c l o s e s in "D" (p age 9 4 ) , w i t h t h e secon d s u b j e c t ( d e r i v e d from th e i n t r o d u c t i o n ) b e g i n n in g on page 97 on "D". O r c h e str a tio n . than c o l o r f u l . The s t y l e o f o r c h e s t r a t i o n i s f u n c t i o n a l r a t h e r In g e n e r a l , t h e c h o i r s have been u s e d s e p a r a t e l y , a lth o u g h c o n s i d e r a b l e d o u b lin g i s u s e d i n th e T hird Movement. Ex­ treme ranges and s p e c i a l e f f e c t s have n o t been u s e d f r e q u e n t l y , in k e e p in g w ith the s t r a i g h t f o r w a r d n a tu r e o f th e m u s ic . Harmony> 1, Three t y p e s o f harmony o c c u r in the Symphony: T r ia d ic harmony w ith r o o t movements in se c o n d s and t h i r d s , r e s u l t i n g i n c r o s s - r e l a t i o n s and "modal" p r o g r e s s i o n s * 2 A lso , m o t iv e s make u s e o f a l t e r n a t i o n betw een major and minor t h i r d s (See. page 1 , m easu res 2, 3 , end 4 , and page 8 1 , Horn, m easures 3 and 4 * ) 2. Q uartal harmony. See v e r t i c a l s t r u c t u r e , page 9 1 , measure 4 , and page 1 1 9 , m easure 3 , A g a in , m o t iv e s o c c a s i o n a l l y u se two f o u r t h s in s u c c e s s i o n a s on page 2 and page 6 8 . 3. Harmony r e s u l t i n g from, th e com b ination o f c o n tr a p u n ta l l i n e s . T h is ty p e o f harmony p r e d o m in a te s . 1 0 5 , 1 0 6 , and 1 0 7 . ) (F or example se e page 1 0 4 , SYMPHONY % H. Y /AN COPLYY A I I I THESIS S u b m i t t e d t o t h e S c h o o l f o r Advanced Graduate S t u d i e s o f M i c h i g a n S t a t e U n i v e r s i t y o f A g r i c u l t u r e and A p p lied S c ie n c e in p a r t i a l f u l f i l l m e n t o f the requirem ents fo r the degree of DOCTOR OF PHILOSOPHY D ep artm en t o f M usic 1958 I ProQuest Number: 10008610 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10008610 Published by ProQuest LLC (2016). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 & r n p H ro Moderato gpproi. t03 IVfl Trb A lic ^ r o BdBcz : M o<4« r a 4 o ^ s a p p ro « f0 8 r p :\ ^cor« n o t a t e d a t a c t u a l p i t c h , except v« °^e’* I n d iv id u a l p a r t s n o t a t e d a s f o l l o w s : K m s in ? , G la r . and Tpt, in Bb . 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