Professional Documents
Culture Documents
OF THE
CLASSICAL AND OF THE MODERN PERIODS
BY
THESIS
FOR THE
SCHOOL OF MUSIC
UNIVERSITY OF ILLINOIS
1915
,
IMS
Wo
UNIVERSITY OF ILLINOIS
June 1 i9a5.
A Instructor in Charge
APPROVED:
BY
THESIS
FOR THE
SCHOOL OF MUSIC
UNIVERSITY OF ILLINOIS
1915
Digitized by the Internet Archive
in 2013
http://archive.org/details/comparisonofcounOOmadd
TABLE OF CONTENTS
I. Introduction.
Wagner.
of Wagner.
following scores:
1
Bach, "Ein feste Burg" Breitkopf and Hartel
I. INTRODUCTION
of parts.
generation, but even then the influences about them are factors
his day.
of the modern period. Since opera was one of the most important
forbidden skips are the sevenths, the major sixth, and the
-4-
XX. COMPARISON OF SKIPS IN WORKS OF BACH AND OF WAGNER.
occurs in the next measure (4:17:5). The notes are e and the d
scale passage, for conjunct motion follows the note, making the
pas sage
(5) between g sharp and f sharp (22:1:4), and (6) between e and
which makes the skip decends to the next scale degree within
scale passages.
These last two skips are diminished sevenths, the first found
thus far.
tenor and base, there are, in the unison violin and viola parts,
these parts omitting every other note, the remaining notes form a
the same.
-6-
(35:2:8:1)
an approximate average of one such skip for each eight and one
with the double bar on page 223:- (l) from a to g flat (223J2:
occurs on pages 252 and 253. The skips are:- (5) from c to b
(273:2:1 and 2:3), and (17) from d sharp to c (273:2:1 and 2:4).
An examination was also made of a passage in "Die
with the double bar on page 162, there are four skips of
of Baoh where there was one skip in every eight and one half
the former there are two major sevenths, four diminished sevenths
and fifteen minor sevenths, while in those from the latter there
second (16) from b to d also (24:12:1), and the third (17) from
f sharp to a (24:12:4.).
In a total of 141 measures from Bach's works examined
approximate average of one for every eight and one fourth measures
the double bar on page 223:- (1) from a flat to b (223:2:5*6 and
(3) from b flat to g (224:1:5,6, and 10:1), and (4) on the same
with the second measure in the second brace on page 272. The
-9-
one fourth measures of the Bach works examined. This shows that
the major sixth was used much less frequently in the chromatic
than in the modern period.
-10-
flat (164:7:1). Another example of this skip, the only one in the
-12-
works
the thirteen measures following the double har on page 223. The
measures from page 162 the skip from f sharp to d oocura four
on page two, the skip from f to c sharp occurs four times; once
staff 16, and once (12) on page 3, staves 18 and 19, measure 4.
of one such interval for each four and three fourths measures
fifths measures.
that the composers of the modern period use these same skips
-14-
compared are, therefore, the sevenths, the major second and the
augmented fifth.
the first 'eight measures of "Ein 1 feste Burg", nor in the first
with page 21, this interval appears three times between g and f
sharp: (1) (21:1: 5 and 3:3), (2) (21:2:5 and 2:4) and (3)
-15-
four times,, are average of once in each fifteen and one half
measure s
(4) (32:1:10 and 7?3) from e flat to d; and (5) (32:2:1 1 and
and 8:3) from g to f sharp; the third (8) (296jl0 and 8:1)
to the soprano solo, "Et exul tavit apiri tus meus" in the Bach
occur: (1) (21:1:2 and 1:4) from e to d, (2) (21:1:5 and 3:5)
(7) (24:12 and 6:2) from e to d, (8) (24:12 and 7:2) from
(24:24 and 18:2) twice from g to f, and (12) (224:24 and 19:
2) from a to g.
In Act II of Wagner f
s "Siegfried" eleven measures,
counting from the third measure in the second brace on page 272,
4 the same interval occurs again, (3) (273:1: 6 and 2;3) from a
and 2:3) from f sharp to e, (6) (273:1:6 and 3:3) from f sharp
-17-
(12) (296:10 and 8:1) from c sharp to b, (13) (296:9 and 8:1)
(15) and (16) (296:9 and 8:2) from g sharp to f sharp, twice in
this measure; and (17) (296:10 and 8::2) from a sharp to g sharp.
sharp
an approximate average of one such interval for each one and one
once in every two and one half measures. It is, therefore, twice
the soprano solo "Et exultavit spiritus meus" from the " Magni fi cat"
page 272, it occurs once in eleven measures:- (l) (273:2:6 ana 3:1)
were examined.
examples of this kind will not be noted for the same reason that
occur:- (I) (27:13 and 7:1) from f sharp to g sharp, (2) (28:13
and 6:1) from d sharp to e sharp, and (3) (28:13 and 6:2) from
f sharp to g sharp.
(54: 11 and 9:1, (6) from a to b (54: 10 and 9:3), (7) from b
. . ,
-19-
to sharp (54:10 and 9:2), and (8) from d to e (54:10 and 9:5)
second occur:- (9) from d to e (21:15 and 3:2), (10)on the same
five measures counting from page 295. They are:- (1) from e to
f sharp (295:9 and 8:3), (2) f rom e to f sharp again (296:1C and 8:
1), (3) from g sharp to a sharp (296:9 and 8:2, and (4) from e to
f sharp (296:9 and 8:2), and (5) from c sharp to d sharp (296:
10 and 8:2)
counting from page 109, the following major seconds occur:- (6)
and (11) and (12) twice from b to c sharp (lll:l:l«0 and 6:1).
four-fifths measures.
fifth. In the Bach choral No. 8 of "Ein feste Burg" the entire
x
to page 249 with the first and second violin, and sometimes the
seventh and of the augmented fifth did not appear in the passages
from the works of Bach. We may conclude, then, that they were
BACH WAGNER
Ma j 6ths
. 141 17 8 1/4 93 24 3 3/4
Aug 4ths
. 97 5 19 2/5 89 10 9
Intervals
Dim. 7th 62 46 2 23
Ma j .2nd 42 15 2 29 11 2 3/5