{"id":{"repo_id":"qu-belfast","oai_identifier":"oai:pure.qub.ac.uk/portal:studenttheses/8ebef998-c7c8-4d18-aa71-a67238bc7a1c"},"canonical_url":"https://search.dev.ndltd.org/etd/qu-belfast/oai:pure.qub.ac.uk/portal:studenttheses/8ebef998-c7c8-4d18-aa71-a67238bc7a1c","repository":{"repo_id":"qu-belfast","name":"Queen's University Belfast","base_url":"https://pureadmin.qub.ac.uk/ws/oai"},"display":{"title":"Franz Liszt's sonata narratives: large-scale forms at the Weimar Court","abstract":"This thesis critically examines the concept of narrative in music by analysing the large-scale, sonata-form instrumental works of Franz Liszt, composed during his tenure as <i>Hofkapellmeister im außerordentlichen Dienst</i> between the years of 1848 to 1861 at the Weimar Court Theatre. Drawing primary attention to the theoretical models of the new <i>Formenlehre</i>, including William Caplin’s theory of formal functions, James Hepokoski and Warren Darcy’s Sonata Theory, and their nineteenth-century complements in Schmalfeldt, Horton, and Vande Moortele, the analyses co-inhabit both empirical and hermeneutic approaches, endorsing the multi-variate methodologies of musicology alongside the literary models of narratology and transtextuality.<br/><br/>Following a conceptual introduction to narrative theory and detailed review of narrative’s adoption in musicology, the thesis builds a theoretical model for the analysis of large-scale forms in nineteenth-century instrumental music. Key case studies comprise the most important of Liszt’s sonata-form works from this period, including <i>Après une lecture du Dante (Fantasia quasi Sonata)</i> and the Piano Sonata in B Minor; the symphonic poems <i>Les Préludes</i>, <i>Orpheus</i>, <i>Prometheus</i>, and <i>Tasso: Lamento e Trionfo</i>; and “Mephistopheles” from <i>Eine Faust-Symphonie</i>; each of which are analysed here under the rubric of the new <i>Formenlehre </i>for the first time, demonstrating the suitability of Liszt’s inclusion in the field, and endorsing the sonata principle as the foundational structure of his large-scale forms. No less than thirty compositions from Liszt’s Weimar years provide supplementary analytical insights, among further examples from lesser-studied nineteenth-century composers. The thesis arrives at a conceptual framework for the analysis of large-scale sonata forms as narrative processes, guided by the frames of transtextuality, and motivated by an aesthetic dialogue between composer and listener.<br/><br/><i>Thesis embargoed until 31 December 2026</i>.","abstract_html":"This thesis critically examines the concept of narrative in music by analysing the large-scale, sonata-form instrumental works of Franz Liszt, composed during his tenure as &lt;i&gt;Hofkapellmeister im außerordentlichen Dienst&lt;/i&gt; between the years of 1848 to 1861 at the Weimar Court Theatre. Drawing primary attention to the theoretical models of the new &lt;i&gt;Formenlehre&lt;/i&gt;, including William Caplin’s theory of formal functions, James Hepokoski and Warren Darcy’s Sonata Theory, and their nineteenth-century complements in Schmalfeldt, Horton, and Vande Moortele, the analyses co-inhabit both empirical and hermeneutic approaches, endorsing the multi-variate methodologies of musicology alongside the literary models of narratology and transtextuality.&lt;br/&gt;&lt;br/&gt;Following a conceptual introduction to narrative theory and detailed review of narrative’s adoption in musicology, the thesis builds a theoretical model for the analysis of large-scale forms in nineteenth-century instrumental music. Key case studies comprise the most important of Liszt’s sonata-form works from this period, including &lt;i&gt;Après une lecture du Dante (Fantasia quasi Sonata)&lt;/i&gt; and the Piano Sonata in B Minor; the symphonic poems &lt;i&gt;Les Préludes&lt;/i&gt;, &lt;i&gt;Orpheus&lt;/i&gt;, &lt;i&gt;Prometheus&lt;/i&gt;, and &lt;i&gt;Tasso: Lamento e Trionfo&lt;/i&gt;; and “Mephistopheles” from &lt;i&gt;Eine Faust-Symphonie&lt;/i&gt;; each of which are analysed here under the rubric of the new &lt;i&gt;Formenlehre &lt;/i&gt;for the first time, demonstrating the suitability of Liszt’s inclusion in the field, and endorsing the sonata principle as the foundational structure of his large-scale forms. No less than thirty compositions from Liszt’s Weimar years provide supplementary analytical insights, among further examples from lesser-studied nineteenth-century composers. The thesis arrives at a conceptual framework for the analysis of large-scale sonata forms as narrative processes, guided by the frames of transtextuality, and motivated by an aesthetic dialogue between composer and listener.&lt;br/&gt;&lt;br/&gt;&lt;i&gt;Thesis embargoed until 31 December 2026&lt;/i&gt;.","abstract_has_math":false,"creators":["Whitelaw, Bryan"],"institution":"Queen's University Belfast","degree_name":"Doctor of Philosophy","degree_level":"Doctoral Thesis","degree_discipline":null,"degree_department":null,"school":null,"contributors":[],"advisors":["Tomita, Yo","Robb, David"],"committee_chairs":[],"committee_members":[],"year":2021,"date_issued":"2021-12","date_published":"2021-12","updated_at":"2026-07-24T03:56:11Z","subjects":["Franz Liszt","sonata theory","narrative","hermeneutics","transtextuality","music theory and analysis","sonata form"],"languages":["eng"],"rights":[],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier","label":"Identifier","values":["oai:pure.qub.ac.uk/portal:studenttheses/8ebef998-c7c8-4d18-aa71-a67238bc7a1c"],"render_values":[{"text":"oai:pure.qub.ac.uk/portal:studenttheses/8ebef998-c7c8-4d18-aa71-a67238bc7a1c","href":null,"code":true}]}]},"links":{"outbound_url":"https://pure.qub.ac.uk/en/studentTheses/8ebef998-c7c8-4d18-aa71-a67238bc7a1c","outbound_label":"Repository record","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor.advisor","label":"Advisor","values":["Tomita, Yo","Robb, David"]},{"key":"dc:creator","label":"Author","values":["Whitelaw, Bryan"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2021-12"]},{"key":"dc:date.issued","label":"Date","values":["2021-12"]},{"key":"dc:publisher.department","label":"Dc Publisher Department","values":["School of Arts, English and Languages"]},{"key":"dc:publisher.institution","label":"Dc Publisher Institution","values":["Queen's University Belfast"]},{"key":"dc:relation.isreferencedby","label":"Dc Relation Isreferencedby","values":["https://pure.qub.ac.uk/en/studentTheses/8ebef998-c7c8-4d18-aa71-a67238bc7a1c"]},{"key":"dc:type","label":"Dc Type","values":["Thesis"]},{"key":"dc:type.qualificationlevel","label":"Dc Type Qualificationlevel","values":["Doctoral Thesis"]},{"key":"dc:type.qualificationname","label":"Dc Type Qualificationname","values":["Doctor of Philosophy"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Franz Liszt","sonata theory","narrative","hermeneutics","transtextuality","music theory and analysis","sonata form"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["eng"]},{"key":"dc:rights.embargodate","label":"Dc Rights Embargodate","values":["2026-12-31"]},{"key":"dc:rights.embargoreason","label":"Dc Rights Embargoreason","values":["/dk/atira/pure/core/document/studentthesisembargoreason/publicationissues"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["oai:pure.qub.ac.uk/portal:studenttheses/8ebef998-c7c8-4d18-aa71-a67238bc7a1c","https://pure.qub.ac.uk/en/studentTheses/8ebef998-c7c8-4d18-aa71-a67238bc7a1c"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["This thesis critically examines the concept of narrative in music by analysing the large-scale, sonata-form instrumental works of Franz Liszt, composed during his tenure as <i>Hofkapellmeister im außerordentlichen Dienst</i> between the years of 1848 to 1861 at the Weimar Court Theatre. Drawing primary attention to the theoretical models of the new <i>Formenlehre</i>, including William Caplin’s theory of formal functions, James Hepokoski and Warren Darcy’s Sonata Theory, and their nineteenth-century complements in Schmalfeldt, Horton, and Vande Moortele, the analyses co-inhabit both empirical and hermeneutic approaches, endorsing the multi-variate methodologies of musicology alongside the literary models of narratology and transtextuality.<br/><br/>Following a conceptual introduction to narrative theory and detailed review of narrative’s adoption in musicology, the thesis builds a theoretical model for the analysis of large-scale forms in nineteenth-century instrumental music. Key case studies comprise the most important of Liszt’s sonata-form works from this period, including <i>Après une lecture du Dante (Fantasia quasi Sonata)</i> and the Piano Sonata in B Minor; the symphonic poems <i>Les Préludes</i>, <i>Orpheus</i>, <i>Prometheus</i>, and <i>Tasso: Lamento e Trionfo</i>; and “Mephistopheles” from <i>Eine Faust-Symphonie</i>; each of which are analysed here under the rubric of the new <i>Formenlehre </i>for the first time, demonstrating the suitability of Liszt’s inclusion in the field, and endorsing the sonata principle as the foundational structure of his large-scale forms. No less than thirty compositions from Liszt’s Weimar years provide supplementary analytical insights, among further examples from lesser-studied nineteenth-century composers. The thesis arrives at a conceptual framework for the analysis of large-scale sonata forms as narrative processes, guided by the frames of transtextuality, and motivated by an aesthetic dialogue between composer and listener.<br/><br/><i>Thesis embargoed until 31 December 2026</i>."]},{"key":"dc:title","label":"Title","values":["Franz Liszt's sonata narratives: large-scale forms at the Weimar Court"]}]}],"canonical_facts":{"dc:contributor.advisor":["Tomita, Yo","Robb, David"],"dc:creator":["Whitelaw, Bryan"],"dc:date":["2021-12"],"dc:date.issued":["2021-12"],"dc:description.abstract":["This thesis critically examines the concept of narrative in music by analysing the large-scale, sonata-form instrumental works of Franz Liszt, composed during his tenure as <i>Hofkapellmeister im außerordentlichen Dienst</i> between the years of 1848 to 1861 at the Weimar Court Theatre. Drawing primary attention to the theoretical models of the new <i>Formenlehre</i>, including William Caplin’s theory of formal functions, James Hepokoski and Warren Darcy’s Sonata Theory, and their nineteenth-century complements in Schmalfeldt, Horton, and Vande Moortele, the analyses co-inhabit both empirical and hermeneutic approaches, endorsing the multi-variate methodologies of musicology alongside the literary models of narratology and transtextuality.<br/><br/>Following a conceptual introduction to narrative theory and detailed review of narrative’s adoption in musicology, the thesis builds a theoretical model for the analysis of large-scale forms in nineteenth-century instrumental music. Key case studies comprise the most important of Liszt’s sonata-form works from this period, including <i>Après une lecture du Dante (Fantasia quasi Sonata)</i> and the Piano Sonata in B Minor; the symphonic poems <i>Les Préludes</i>, <i>Orpheus</i>, <i>Prometheus</i>, and <i>Tasso: Lamento e Trionfo</i>; and “Mephistopheles” from <i>Eine Faust-Symphonie</i>; each of which are analysed here under the rubric of the new <i>Formenlehre </i>for the first time, demonstrating the suitability of Liszt’s inclusion in the field, and endorsing the sonata principle as the foundational structure of his large-scale forms. No less than thirty compositions from Liszt’s Weimar years provide supplementary analytical insights, among further examples from lesser-studied nineteenth-century composers. The thesis arrives at a conceptual framework for the analysis of large-scale sonata forms as narrative processes, guided by the frames of transtextuality, and motivated by an aesthetic dialogue between composer and listener.<br/><br/><i>Thesis embargoed until 31 December 2026</i>."],"dc:identifier":["oai:pure.qub.ac.uk/portal:studenttheses/8ebef998-c7c8-4d18-aa71-a67238bc7a1c","https://pure.qub.ac.uk/en/studentTheses/8ebef998-c7c8-4d18-aa71-a67238bc7a1c"],"dc:language":["eng"],"dc:publisher.department":["School of Arts, English and Languages"],"dc:publisher.institution":["Queen's University Belfast"],"dc:relation.isreferencedby":["https://pure.qub.ac.uk/en/studentTheses/8ebef998-c7c8-4d18-aa71-a67238bc7a1c"],"dc:rights.embargodate":["2026-12-31"],"dc:rights.embargoreason":["/dk/atira/pure/core/document/studentthesisembargoreason/publicationissues"],"dc:subject":["Franz Liszt","sonata theory","narrative","hermeneutics","transtextuality","music theory and analysis","sonata form"],"dc:title":["Franz Liszt's sonata narratives: large-scale forms at the Weimar Court"],"dc:type":["Thesis"],"dc:type.qualificationlevel":["Doctoral Thesis"],"dc:type.qualificationname":["Doctor of Philosophy"]},"updated_at":"2026-07-24T03:56:11Z"}