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A Theory of Closure in the Works of Sergei Prokofiev
Pedersen, Jacy R
Pedersen, Jacy R
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2019
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In Prokofiev’s music, arrivals of closure, familiar theme types, and formal structures are heard and understood, even when functional harmony is not necessarily present. Chromatic linear motion leading to closure is a consistent feature throughout his output. Examples from this thesis range from Op. 14 to Op. 135 (his last completed opus number), and more have been identified as early as Op. 1. The shift from vertical harmony to linear, contrapuntal motion becomes Prokofiev’s signifier for forthcoming closure, with consecutive half steps becoming the primary force driving towards phrase endings. Using this consecutive linear half-step motion, in combination with contrapuntal technique, texture, and presence of dominant-to-tonic motion, a cohesive system of identification is created to easily and accurately describe moments of closure. The hierarchical system I propose covers a spectrum of strength spanning from weak, half cadence-like dominant closure to strong, structural open closure. The most common types, chromatic and mixed closure, highlight the prominence of chromatic linear motion and its pull towards a phrase’s telos in a variety of compositional styles. Contrapuntal elements — specifically parallel and contrary motion — create an additional draw towards closure by strengthening a single voice, or by having two voices work in tandem to reach the goal. Bass motion that resembles and suggests dominant to tonic contributes as well, but this is a nonessential feature. What was once necessary within the conventions of functional harmony and cadence is no longer necessary for the creation of closure in chromatic, post-tonal music. This thesis explores these ideas to create a cohesive method to accurately identify, describe, and define moments of closure in Prokofiev’s music.
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Music