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A graduate project submitted in partial fulfillment of the requirements for the degree
of Master of Music in Music, Performance
By
Kaiyan Qian
August 2020
The thesis of Kaiyan Qian is approved:
_________________________________________ _________________
Dr. Dmitry Rachmanov Date
_________________________________________ _________________
Dr. Gayle Kowalchyk Date
_________________________________________ _________________
Professor Mark Richman Date
_________________________________________ _________________
Dr. John A Roscigno, Chair Date
Thank you to Dr. Rachmanov, Professor Mark Richman, Dr. Gayle Kowalchyk,
Dr. E. L. Lancaster, Dr. John A. Roscigno for all your guidance, passion, wisdom, and
encouragement.
Thank you to my family and friends for your support and love.
iii
Table of Contents
Signature Page ii
Acknowledgements iii
Abstract v
Section 1: French Suite No. 6 in E Major, BWV 817 by Johann Sebastian Bach 1
Bibliography 30
iv
Abstract
By
Kaiyan Qian
This paper explores the author’s understanding and analysis of Johann Sebastian
Bach’s French Suite in E Major, BWV 817; Joseph Haydn’s Sonata in E-Flat Major,
Hob. XVI: 52; Frédéric Chopin’s Nocturne in D-Flat Major, Op.27 No. 2 and Scherzo
in B-Flat Minor, Op. 31; Claude Debussy’s Estampes; and finally, Lisan Wang’s
historical background, form, harmonic language, stylistic time periods, tempi, texture,
character, articulation, and other important aspects of these works. Musical score
v
Section 1: French Suite No. 6 in E Major, BWV 817 by Johann Sebastian Bach
Johann Sebastian Bach wrote a total of nine suites in the French style in his
lifetime, namely six sets of French Suites, BWV 812-817 and the French Overture,
BWV 831, as well as two additional suites, one in A minor, BWV 818 and the other
in E-flat major, BWV 819. The set of French Suites, BWV 812-817 was written
between 1722-1725, at the time the composer was moving from Köthen to Leipzig.
The French Suites do not have as large a scale as the English Suites, nor the freedom
of the genre of “Partita.” However, they are exquisite and compact in their form,
moderate in length, melodious, highly unified in style, and reflect elegant and delicate
emotions.1 French Suite No. 6, BWV 817 occupies an indelible position in the entire
cycle. This work inherits the form of “suite” and adopts a combination of homophony
and polyphony of writing styles. They follow the basic characteristics of the suite
genre, yet break through the traditional with innovative ideas, style, and techniques.
featuring the largest variety of dance forms in all six sets of the French Suites.
typically with a moderate tempo in 2/4 or 4/4 and smooth in its flow. After the 17th
century, the allemande became part of stylized dance music, with a pulse of about
1
BENT, IAN. Schenker and Bach's French Suite in E Major (Wiley Online Library, 2015).
1
66-76 beats per minute. The melodic line often started with a weaker sixteenth note
upbeat and formed a homophonic repetition with the first strong beat of the next
measure. The performer should express the content of the music with a positive mood
and highlight the strong beats to reflect the rhythm of a dance swing. The allemande
consists of two sections: A and B. The first four measures of part A start on a
dominant upbeat, and the hidden melodic line in the sixteenth note runs through the
theme and plays between the main and third notes of the tonic chord, finally ending
(Figure 1)
Mm. 13-20 of part B repeats the theme of part A and expands it, but the eighth
notes of the left hand only play a simple two-measure counterpoint and ends on the
tonic chord, then modulating into C-sharp Minor in measure 20 (Figure 2).
(Figure 2)
The Corrente originated from a 16th century French dance of the court nobility. In
the first half of the 17th century, it became a three-beat French solo dance. It became
2
one of the four basic movements of the Baroque suite, usually the second dance of the
suite. But in this Suite, Bach uses the Italian style corrente that is typically written in
3/4 or 3/8 meter to replace the French-style courante. Like the Allemande, the
Corrente starts with a sixteenth upbeat and forms a homophonic repetition with the
first strong beat of the next measure, filling the texture with a series of sixteenth notes
of equal time value. There is an upward running scale which slips downward on
(Figure 3)
After the double bar, the thematic material is inverted on the dominant
harmony (mm. 17-18, Figure 4), modulating into C-sharp minor (vi, m. 24).
Passing through the keys of A major (IV) and F-sharp minor (ii) in mm. 25-27,
the music reaches the dominant harmony (V7) at m. 28, reaching the conclusion
(Figure 4)
slow-paced three-beat dance. The first beat has a shorter time value, followed by the
longer and stronger second beat, usually accompanied by an ornament in the melodic
3
part, so that the beat is emphasized. The connection between the second and third
beats often features a dotted rhythm pattern. In this dance, Bach decorated the
sustained long notes with trills to make the flowing continuous effect. When the
finger touches the key on the first note, it should sink into the bottom of the key to
produce a firm tone with the sound inertia to transmit the energy to the next tone. It is
important to prepare for the ornamental notes by hearing them in advance to make the
sonority rich. The slowly appearing sixteenth notes adds some sense of longing to the
sense of warmth and fantasy in the emotion. The imitation of the left-hand part in mm.
18-20 creates an imitative response and interplay between the voices, further
(Figure 5)
The Gavotte is a folk dance with some pastoral elements that originated in France.
This is a dance of moderate speed with two subdivided beats to the measure, danced
on one’s toes, and the mood is lively and elegant. The gavotte begins on the third
quarter note (second beat), and the opening is usually composed of two quarter notes.
4
The Polonaise was a popular folk dance from 16th-century in Poland. It was
services. The polonaise is a moderate-tempo three-beat dance, and it has been favored
by composers since the 17th century. The cadences in the polonaise resolve on the
weaker second and third beats. These are also called “feminine endings,” named by
Marpurg who classified cadential breaks that occurred on the strong part of the
measure as “masculine” and “feminine” if they occurred on the weak part of the
measure. A feminine cadence disrupts the meter because the penultimate note of the
The Menuet has a long history and had been popular in Europe for nearly 200
Louis XIV of France was an aficionado of intimate dance music. The menuet was
introduced to the king’s court around 1650, and was sought after by the nobles as an
official ceremonial court dance. The tempo is moderate, the character shows the noble
temperament, and the style is elegant. This dance, rhythmically similar to a waltz, is
short and refined, so if the first beat of the second measure is played as an accent, the
dance music will have a particularly elegant lilt. Measure nine in part B repeats the
theme and then develops a new material. The developmental materials cite the first
theme composed of the eighth notes; however, the direction of the scale is changed in
2
Szymon Paczkowski, Polish Style in the Music of Johann Sebastian Bach. (Lanham:
Rowman & Littlefield, 2017), 48.
5
measure 11 (Figure 6). In measure 15, the music returns to a half cadence
in E major, and the first theme plays again. The contrast between measure 15 and
The Bourrée was a popular type of French folk dance music that was later
adopted by the French court nobility. Bourrée means “distribution, spread.” It was
popular in Europe from the end of the 16th century and beginning of the 17th century
until the 18th century. In the E major French Suite, the melodic pattern of this lively
dance music is composed of one quarter or two eighth-notes upbeat. The sound is
clear and concentrated, the imagery is vivid and full of vitality, and the music shows a
sense of excitement and joy. The strength and individual articulation of the left and
right hands should be clearly divided. It is better to use a non-legato touch. The tone
is light but bright, so the fluency of the texture must be maintained. The performer
should use some sparse pedaling to add some polish to the tonal color.
The Gigue is a fast and lively dance with intense emotions. It often uses a
fugue-like texture of imitative polyphony featuring dotted rhythms. The longer notes
are often followed by short notes, and the short notes are played in quick succession.
This gigue has a two-voice texture throughout, though it does create a multi-part
effect. The first theme starts in the right hand with the eighth-note staccato line,
imitated by the lower voice beginning on the last beat of measure one. The initial
6
musical motive also appears in measures four and six creating a multi-voice effect.
For the half cadence like in mm. 17 and authentic cadence in measure eight, the
performer should properly use some pedaling in order to fill out the harmony.
In the French Suite, the fingers should be strictly controlled, and every section
played should be balanced. The interrelationship of each part forms a series of logic
and rhythm and only in this way the performer can experience the value of the
“French Suite.”
7
Section 2: Sonata in E-Flat Major, Hob. XVI: 52 by Franz Joseph Haydn
Haydn's Sonata in E-Flat Major, Hob. XVI: 52 is his last piano sonata, completed
during 1794-1795 and dedicated to Ms. Therese Jansen. When Haydn wrote this piece
during his second visit to the United Kingdom between February 1794 and August
“Piano Trios,” and the last three piano sonatas. As far as the composer’s piano music
is concerned, this sonata represents Haydn's creative peak and shows his highest
achievement in the genre. This piano sonata shows extraordinary imagination. The
superb skills of rich expressions and harmonic imagination, strong contrasts of tone
and character, and magnificent orchestral effects all point to Haydn’s compositional
technique having reached its peak. The sonata is a milestone in the composer’s late
piano compositions.
in 4/4 time, featuring the sonata-allegro form. Haydn seems to have a predilection for
majestic character when writing in the key of E-Flat major. However, here the sense
of seriousness is often mixed with a slightly moving, warm and humorous touch.
Moreover, the second subject, set in the key of B-flat major is both expressive and full
8
(Figure 7)
At the beginning of the first theme in the first movement, the dotted rhythm has
the air of military music. The melody’s upward direction is dignified and majestic. It
complements and contrasts with the second theme of light-heartedness and humor.
The character is unique and original. Haydn shows his mastery of tone colors, with
different keys bringing different color effects. There is also a clever use of imitative
(Figure 8)
half-tone upward shift) consisting of 54 measures in 3/4 time. This movement is full
of spirited elegance and a sense of intrigue, has an impromptu character, and displays
9
a rich sense of fantasy. The movement uses much ornamentation and smaller note
of tension, in turn, tightening and loosening its elaborate melodic lines. The
movement is an ABA ternary form. Measures one through four and five through eight
(Figure 9) are like a duet and are composed of two regular phrases. The second
sentence of each motive is deeper in content and tone than the first theme. The
(Figure 9)
The virtuosic Presto third movement, consisting of 307 measures in 2/4 time,
returns to the E-flat major tonic, and features a rondo-sonata form. This is an exciting
finale; the music is brilliant, surging forward. The first theme starts with the five
repeated eighth notes (G) on an upbeat to the first measure. At the sixth note, the
downbeat arrives, supported with the tonic E-flat in the bass. There is a fermata in
full of surprise, showing Haydn's ingenious imagination and each time (three times
with same theme shifting the keys) creating different musical emotions (Figure 10).
10
(Figure 10)
After the sudden fermata, the second sentence of the theme immediately follows
one step higher (on A flat). It presents a repetition of the first idea, now in F minor,
and the mood and color are completely different. If the initial phrase of the first theme
sounds well-balanced with a sunny disposition, then the second similar passage in F
minor feels like a question with a little doubt, sounding suspenseful. Immediately
afterwards, another fermata appears. This pause is different from the first one. It
Suddenly, the mood shifts by the five heavy repeated B-flat bass octaves,
followed by the brilliant passagework in the soprano, switching back to the tonic key.
Haydn seems to use this sudden burst of energy to express his randomly appearing
sense of humor. Its energetic and repetitive rhythmic pattern shows a dance-like
rhythmic flow with some elements of folk-style, just like percussion in the bass,
(Figure 11)
At the beginning of the measure 17, the continuous sixteenth note passages
11
appear in the right-hand part. The sound is clear, the speed is stable, with an even
touch. The development section maintains the rhythm of the exposition, full of energy
and humor. A performer should strive for clean and uniform articulation of the
sixteenth notes in mm. 17-28, reflecting the music’s stability and balance.
One should also note the prevalence of the half-note chromatic melodic
progression in the movement. Haydn uses the semitones to the extreme, and then
enters the recapitulation in measure 204. The sonata’s finale requires a high degree of
skill to play, and it is the most brilliant movement of this work. In this final
movement, Haydn takes listeners into a world that is full of exciting, joyful, and
radiant power.
12
Section 3: Nocturne in D-Flat Major, Op.27 No.2 by Frédéric Chopin
Rubato is an important factor in Chopin's piano style. Without rubato, his music
will lose its charm and emotion. However, abusing his expressive means will produce
sentimentality and even completely distort the original intention of the music. For
Chopin’s rubato rhythm, the left-hand accompaniment should always observe a strict
rhythm, but the melodic part in the soprano expresses the freedom of the music from
properly grasp Chopin's rubato, the performer must first realize that Chopin's classical
Chopin wrote 21 nocturnes. Chopin composed his nocturnes throughout all of the
important moments of his lifetime from 1827 to 1846. When Chopin was a student, he
had heard of the nocturnes written by the Irish composer, John Field (1782-1837),
who is considered “the father of nocturne,” and was attracted to the melodious and
fanciful genre. He visited Field after arriving in Paris in 1832. There is no doubt that
Chopin’s early nocturnes were created during this time period and were influenced by
Field’s nocturnes. Chopin’s nocturnes are full of charm, are delicate and sentimental,
and at the same time, have the mystery of “the night.” Nocturne in D-flat Major, Op.
there is no lack of passion. It is amazing how the composer portrays the inner activity
13
of the characters and points to the reason why Chopin is called the “poet of the
piano.”
Chopin inherited the lyrical character that Field laid out in his nocturnes. In
Field's nocturnes, the dynamics are mostly p and pp, and the expression signs are
gentle and cantabile. In Chopin’s nocturnes, he uses wider range of expression with
dynamics ranging from pp to fff. Chopin deeply understood the melodic quality of
cantabile. He also inherited from Field the characteristic of highlighting the melody in
the right hand and using broken chord accompanying figures in the left hand.
Ornaments and melismas are a major feature of Field's nocturnes, and they also
are found in Chopin's nocturnes. Chopin added appoggiaturas, trills and turns to his
performer should try to make the fingers touch the keys as lightly as possible. The
palm of the hand is supported by the arm and uses the strength of the fingers to create
an elegant sound. In terms of passage speed, there should always be flexibility and
rubato, such as in the long ornament sentences in mm. 52 and mm. 60, and the
(Figure 12)
14
Another important feature of Chopin's nocturnes is his use of variation as his
creative technique. He repeated the theme with a new texture and continued to use
Field's binary and ternary forms while paying more attention to the content of the
The structure of Nocturne in D-Flat Major is a ternary form, and the music is
mainly composed of three parts and a Coda. The beginning of Part A (mm. 1- 25,
Figure 13) is based on D-Flat major, and then naturally switches to B minor in
measure 10. Part B’s natural reference to Part A’s materials and the modification of
ornaments in Part A’s materials a further enriches the musical expression. The
transposition in Part B (mm. 26-45, Figure 14) gives the listeners a sense of urgency.
Part A1 (mm. 46-62 Figure 15) still quotes the music materials of Part A, but there are
differences on this basis, making the melodies freer. At the end, the Coda (mm. 62-77,
Figure 16) returns to D-flat major, not only making a return of emotions, but also an
end.
(Figure 13)
15
(Figure 14)
(Figure 15)
(Figure 16)
beautiful. The changeable melody also makes the listeners admire this music from the
heart.
16
Section 4: Scherzo in B-Flat Minor, Op. 31 by Frédéric Chopin
Another of Chopin’s popular pieces, the Scherzo in B-flat Minor, Op. 31, is
totally different from his nocturne. This scherzo was written in 1837, at the mature
while staying in Paris at the time, Chopin’s creative powers were at their peak.
Compared with some of his earlier works written in an elegant style, the dramatic
content of the Scherzo in B-Flat Minor seems richer, deeper and brighter. Chopin's
personality had become more complex due to his growing life experience. Optimism
The Scherzo’s first theme (mm. 1-3) seems to start with a series of question-like
(Figure 17)
firm and decisive answer, highlighting the strong dramatic effect. Through the
ensuring connecting passages covering the full range of the piano’s registers, the
mood gradually shifts from assertive enthusiasm to peaceful joy. The second theme
17
(m. 65, Figure 18) is like a continuous lyrical song, with each phrase connected to the
next one, forming interlocking structures. It speaks with passionate eloquence to the
listeners. The musical image of this theme expresses an ardent youthful exuberance.
(Figure 18)
For the next section of the piece, marked sostenuto, the key shifts to A major. The
atmosphere is very soft and gentle with a singing tone and melodic lines moving
around the sustained tone of C-sharp, appearing in the alto voice, in a lingering mood.
The use of pedal may be more sustained, creating a dreamy haze, as if expressing a
reverie or invoking a distant memory. The following theme with its rocking
(Figure 19)
The musical character here is that of a graceful waltz, its triplet’s figurations sounding
like a lover's eager response to an emotional confession, the two upper voices
intertwined with each other. In the section’s closing theme (m. 334), the music
18
features a soaring and brilliant waltz, with its light and flexible passagework in an
(Figure 20)
From the second theme of the Presto and the second theme in the sostenuto, it is
not difficult to see that the distinguishing feature of Chopin's music is its melodic
structure. He was enamored with the Italian opera at that time and asked his students
to listen to Italian singers and learn how to use their voices calmly, thus gaining
3
Tad Szulc, Chopin in Paris: The Life and Times of the Romantic Composer (New York:
Simon & Schuster, 1999), 93-95.
19
Section 5: Estampes by Achille-Claude Debussy
literature. Most of Debussy's mature works have titles. This title is more like a
characteristics of Impressionism. The title of the music points out the various images
of the visual description of the scene and is allowed to make hints or slightly implicit
expressions in various situations. As his first breakthrough work, Estampes marks the
birth of Debussy's auditory revolution and the transition from visual to auditory.
various art forms such as literature, painting, music, and philosophy, through artistic
ideas and artistic language. Listeners can get a glimpse of Debussy's novel musical
thinking and bold breakthrough consciousness from his original thematic material and
stylistic language. Debussy thoroughly explored the native music culture in the
creation of Impressionistic music. He not only drew melodies from folk music, but
also borrowed from folk dance rhythms. After the victory of the Franco-Prussian War
in 1871, musicians set off a revival of French music.4 Debussy was very keen on
exotic musical styles, such as the Spanish Habanera, the Gamelan in Java, and some
forms of traditional Eastern music. These musical elements with Asian qualities
4
TYRE, JESS. Music in Paris during the Franco-Prussian War and the Commune. (The
Journal of Musicology 22, no. 2, 2005), 178.
20
abound in his works. Estampes integrates the characteristics of national music of
different cultures and expresses different pictures with East Asian, Spanish, and
French colors.
expression of the imagery of a distant and mysterious Far East. In Estampes, the
continuous sound in the bass register simulates the ostinato effect of the gong in the
Gamelan. In the third measure, the main theme appears in the soprano using a
pentatonic scale, and the two middle parts are similar to some small percussion
(Figure 21)
The texture integrates different voices which are independent and have different
functions. Two new melodic lines that are added in the both hands in mm. seven and
21
(Figure 22)
When the melodic lines of the Eastern flavor and the multi-layered texture of
Gamelan music are combined, a complex multi-sound effect with Eastern stylistic
La soiree dans Grenade portrays the night scenery in Spain depicting street
dancers, borrowing from the tone scale and rhythmic characteristics of Spanish folk
music. In terms of rhythm and tempo, we hear two characters of the Spanish
Habanera dance - dotted rhythms and syncopation. The melodic theme starting in
measure seven uses the augmented second (m. 9) that is a common interval in Spanish
and Arabic music. The repeated ostinato figure in the alto voice is typical of the
(Figure 23)
characteristics of Spanish national instruments. Mm. 17-20, 29-32, and 92-97 imitate
the strumming of a guitar (Figure 24). This second movement of Estampes is a typical
22
Spanish-style piece of music, and it is a good example of incorporating the
(Figure 24)
characteristics of the toccata.5 In the third work of Estampes, Jardins sous la pluie,
Debussy integrated the classical toccata, blending it with the Impressionistic colors.
The music uses French folk tunes to depict simple and naïve imagery, such as
showing little children playing after the rain. The music consists of two major
sections and the ending. The first section is marked pp but in Net et vif, with clearly
executed chords and highlighted LH melody (mm. 1-15). When the key is changed
from E minor to F major, the color shifts as if the skies brightened up (mm. 16-26),
then suddenly turning into the drizzle (mm. 27-30). During the transposition process
in mm. 16-26, harmonic shifts with the change of colors become the focal points.
There are no tangible melodic lines in the whole passage, but the clear and transparent
can get a glimpse of the essence of Impressionistic art at the end of the 20th century.
5
TYRE, JESS. Music in Paris during the Franco-Prussian War and the Commune. (The
Journal of Musicology 22, no. 2, 2005), 178.
23
The artistic value of this work allows people to appreciate Impressionism with its
original national themes and languages, and new musical thinking. The Estampes
embodies Debussy's love and contemplation of nature, aspirations and longing for
6
Burkholder, James P., and Claude V. Palisca. Norton Anthology of Western Music:
Twentieth century. (New York: W W Norton & Company, 2010.)
24
Section 6: Geometrical Pattern in A Yu Mode by Lisan Wang
Sichuan in 1933. He pursued a wide range of literary and artistic interests since his
youth, and was deeply influenced by both Chinese music and Western music. His
The Shanghai Conservatory of Music in the 1950s had a very good academic
tradition. First of all, the academic atmosphere was relatively relaxed and democratic,
professors and students had the opportunity to be exposed to modern Western schools
of composition. The knowledge of Paul Hindemith and other theoretical systems had
opened Lisan Wang’s horizons. Secondly, Mr. He Lüting, as the dean of the Shanghai
Conservatory of Music at that time, vigorously promoted folk music, and encouraged
When the Cultural Revolution happened, China government forbade any Western art
and music. In the "anti-Rightist struggle" in a special historical period, Lisan Wang
was designated as "the head of the anti-party," and he was beaten as a "rightist." In
1959, Lisan Wang was sent to the Great Northern Wilderness in Heilongjiang for
an accompanist in various performances. The hard work of farming during the Great
25
Northern Wilderness period provided richer material and inspiration for his music
creation. He successively created works such as “The Girl of the Great Northern
Wilderness” and dance music “Deer Jumping” which were welcomed by the working
people in the reclamation area. After the end of Cultural Revolution and the
convening of the Third Plenary Session of the Party Central Committee, the issue of
Wang Lisan's misjudgment as a “rightist” was finally completely changed, and the
normal political ordeal was truly over. Until that time he had the chance to explore
new artistic concepts and new techniques in his creation. In 1980, he adopted the
Western polyphonic music genre of the prelude and fugue, by adopting five modes of
Geometrical Pattern in A Yu Mode uses the Hunan Flower Drum tune as the
material to describe Chinese folk patterns. This is a custom piano piece that combines
the flower drum folk materials with modern compositional techniques. The
composition is more abstract, giving the listeners a very broad feeling for imagination.
This work can be divided into two sections: section A (mm. 1-53) is a prelude and
Section A starts with Chiaroscuro, which means clear and dark timbre, and the
tempo is 120 beats per minute. In mm. 1-4 (Figure 25), there is a four-measure
26
melodic thematic pattern, and in mm. 5-8, the melodic line shifts from treble to bass,
giving people a sense of magpies or butterflies coming in pairs like a beautiful pattern.
Motivic sequences are found in mm. 9-33 (Figure 26) alternating between the soprano
and bass, coupled with the constant change of tonality and changing colors, like a
moving flashing light with continuously shifting patterns, fitting the title very well.
Mm. 36-53 (Figure 27) bring back the opening theme, but in order to add new color,
the bass features dissonant chords, and there are minor second intervals between the
treble and bass parts. The sparse writing with rests in mm. 50-53 (Figure 28) shows
acontrast with the previous hustle and bustle atmosphere, deepening the mystery of
the music and making the listeners anticipate that magical things are about to happen.
(Figure 25)
(Figure 26)
(Figure 27)
27
(Figure 28)
uses the pentatonic scale. Due to the use of G-sharp and D-sharp in the melody, the
tune sounds beautiful and rich in regional colors (Figure 29). The use of ornaments
(ornaments are composed of seconds and thirds) such as in mm. 57, 61 and 67(Figure
30) gives the tune a unique flavor, which sounds humorous and funny, giving people
(Figure 29)
m. 57 m. 61 m. 67 (Figure 30)
Finally, starting from measure 121 (Coda) (Figure 31), the bass part repeats the
theme of the fugue, and the entire measure of rest with a fermata enhances the strange
28
(Figure 31)
(Figure 32)
29
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30
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31