Résumés
Abstract
Modal mixture is defined as a local colouration of a diatonic progression by borrowing tones or chords from the parallel major or minor tonality. In his efforts to expand tonal resources, Beethoven took this technique further: he borrowed large-scale tonal processes from a composition’s parallel tonality, a technique that I term formal mixture. After tracing its origin to certain works by J. S. Bach, C. P. E Bach, Domenico Scarlatti, and Joseph Haydn, I demonstrate how Beethoven built upon his predecessors’ use of the technique throughout his career, thereby expanding and diversifying the tonal resources of late classical era sonata forms.
Résumé
La modulation diatonique se définit comme la coloration locale d’une progression diatonique par l’emprunt de tons ou d’accords à la tonalité majeure ou mineure homonyme. Dans ses efforts visant l’élargissement des ressources tonales, Beethoven a fait avancer cette technique : il a emprunté des processus sonores de grande échelle de la tonalité homonyme d’une composition, technique que je qualifie de modulation formelle. Après en avoir retracé les origines à certaines oeuvres de Johann Sebastian Bach, Carl Philipp Emanuel Bach, Domenico Scarlatti et Joseph Haydn, je montre comment tout au long de sa carrière Beethoven s’est appuyé sur l’emploi de cette technique par ses prédécesseurs, élargissant et diversifiant ainsi les ressources tonales des structures sonate de la fin de l’ère classique.
Parties annexes
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