The End of Die Feen and Wagner's Beginnings

Multiple Approaches to an Early Example of Double-Tonic Complex, Associative Theme and Wagnerian Form

Bibliographic Data

ID4315563
AuthorsMatthew Bribitzer‐stull, Matthew Bribitzer-Stull (University of Minnesota, corresponding author)
Year2006
Volume25
Issue3
Pages315-340
Publication date2006-10-01
Peer ReviewedYes
Open AccessYes
TypeARTICLE
VenueMusic Analysis (JOURNAL)
Journal identifiersISSN: 0262-5245 • E-ISSN: 1468-2249
PublisherWiley (PUBLISHER • GB)
DOI10.1111/j.1468-2249.2006.00245.x
OpenAlexW2075501437
LanguageEN
Citations received5
References cited1

Examples of directional tonality, associative tonality, associative theme and motivic parallelism all appear in the Act III Finale to Die Feen, Wagner's first complete opera. The inter-relationships evident among these compositional principles foreshadow a level of sophistication usually attributed to the more mature music dramas, suggesting that the keys to unlocking das Geheimnis der Form can, in some senses, be found in an understanding of the earlier works. The present study adopts a range of theoretical paradigms in order to address the variety of Wagner's musical and dramatic techniques. Used in conjunction, Schenkerian generative views of tonality, Robert Bailey's dramatic-tonal concepts, neo-Riemannian transformations and an understanding of thematic association enable a series of analytical observations unattainable through any single interpretative approach

Art · Literature · Musical · Opera · Tonality · World Wide Web · Bach Studies and Logistics Development · Computer Science · Musicology and Musical Analysis · Neuroscience and Music Perception

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