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Contextualizing Vocal Writing, Text-Setting, and Harmonic Syntax in Richard Strauss's Deutsche Motette, Op. 62
出版University of Missouri-Kansas City, 2021
URLhttp://books.google.com.hk/books?id=O1mRzgEACAAJ&hl=&source=gbs_api
註釋As a composer, Richard Strauss is best known for his operas, symphonic (tone) poems, and lieder. Scholars, however, have placed less analytical focus on his choral music. A key component of nearly all of Strauss's music is its programmatic element, as well as carefully selected texts for his vocal works. Strauss has been credited with letting the text shape his musical decisions, and this extends to the choral music as it does the operas and lieder. This document provides an analysis of Strauss's choral Deutsche Motette (1913) using foci that previous scholars have used to analyze his other vocal music. Strauss sets this unaccompanied work (scored for sixteen-part chorus and four soloists) to a secular poem by Friedrich R|ckert and incorporates different musical forms from the common practice era in this piece. I analyze a representative sample of excerpts from the opera literature (Salome, Elektra, and Der Rosenkavalier) and the lieder ("Fr|hlingsfeier," op. 56, no. 5; Drei Lieder der Ophelia, op. 67, nos. 1-3; and Sechs Lieder nach Gedichten von Clemens Brentano, op. 68) in relation to the Deutsche Motette to show the stylistic attributes of Strauss's well-known vocal genres also exist in his choral writing. These elements include the virtuosic writing for the voice as well as the progression of storytelling found in the texts. In addition, scholars such as Bryan Gilliam, Tethys Carpenter, and Susan Youens analyze the selected operas and tone poems by focusing on the harmonic relationships and progressions, formal structure inspired by common-practice models, and the relationship between the music and the text; thus, I discuss these same elements that appear prominently in the Deutsche Motette and connect them to those elements as they appear in the other repertoire. In short, the choral music shares more in common with the other vocal genres than for which they are given credit