Interpretation as Analysis: Sonata Form in the First Movement of Ravel's String Quartet

Amy Hess

Location

Science Center, A154

Document Type

Presentation

Start Date

4-27-2012 1:30 PM

End Date

4-27-2012 2:30 PM

Abstract

Using Hepokoski and Darcy’s sonata theory, I analyze how the formal ambiguities of the first movement of Ravel’s String Quartet (1902) open multiple pathways for the interpretation of its sonata form. Through my examination of ten recordings of the movement, I explore how each recording presents an implicit analysis that shapes how a listener perceives the movement’s form. In conclusion, I offer cautious assessments of the mutual relationships between the analysis, performance, and perception of form.

Notes

Session I, Panel 1: Listening in: Case Studies of Musical Form and Historical Change
Moderator: Charles McGuire, Professor of Musicology

Major

French; Violin Performance

Advisor(s)

Grace An, French
David Bowlin, Violin

Project Mentor(s)

Sigrun Heinzelmann, Music Theory

April 2012

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Apr 27th, 1:30 PM Apr 27th, 2:30 PM

Interpretation as Analysis: Sonata Form in the First Movement of Ravel's String Quartet

Science Center, A154

Using Hepokoski and Darcy’s sonata theory, I analyze how the formal ambiguities of the first movement of Ravel’s String Quartet (1902) open multiple pathways for the interpretation of its sonata form. Through my examination of ten recordings of the movement, I explore how each recording presents an implicit analysis that shapes how a listener perceives the movement’s form. In conclusion, I offer cautious assessments of the mutual relationships between the analysis, performance, and perception of form.