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    Piano Sonata No. 3, Op. 36 by Karol Szymanowski: Musical and Historial Influences

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    Author
    Kim, Ji-Young
    Issue Date
    2010
    Keywords
    Historical Influence
    Musical Influence
    Piano Sonata No. 3
    Szymanowski
    Advisor
    Gibson, Tannis
    Committee Chair
    Gibson, Tannis
    
    Metadata
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    Publisher
    The University of Arizona.
    Rights
    Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author.
    Abstract
    Polish composer, Karol Szymanowski (1882-1937) wrote a substantial number of piano works from 1899-1934, yet these works have been mostly forgotten or ignored outside his country. Szymanowski scholars divide his works into three periods. The second period represents the most radical shift in his compositional style particularly in his treatment of form, harmony and texture. This study demonstrates the musical and historical influences evident in his Piano Sonata No. 3, Op. 36 (1917), the last piano work written during his second period. Piano Sonata No. 3 exhibits elements of two contrasting styles, French Impressionism and German Romanticism. Manifestations of Szymanowski's Polish musical heritage and his cultural and social isolation during the years of the First World War (1914-1918) are also found in this sonata.This study also provides a detailed analysis of Piano Sonata No.3 in terms of form, motivic unity, thematic development, harmony, and texture. Another important aspect of my study is the extensive use of musical examples drawn from the works of Debussy, Ravel, Wagner and Strauss to demonstrate the musical influences of both French Impressionism and German Romanticism in his third sonata. In this sonata, Szymanowski mirrors French Impressionistic sound and texture through the common use of whole-tone and pentatonic scales as well as unresolved harmonies, trills, 4ths and 9ths. While drawing upon these particular techniques of Debussy and Ravel, Szymanowski's third sonata retains strong German roots in the use of motivic unity, chromaticism and textural crescendi such as those found in the operas of Wagner and Strauss.
    Type
    text
    Electronic Dissertation
    Degree Name
    D.M.A.
    Degree Level
    doctoral
    Degree Program
    Music
    Graduate College
    Degree Grantor
    University of Arizona
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    Dissertations

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