Aspects of Lev Abramovich Mazel' thinspace's theory of integrated analysis.

Abstract

In this thesis several aspects of the theory of integrated analysis of musical works of Lev Abramovich Mazel' (1907-) are presented and explicated. These aspects are dimensions of thematic structures, dynamics, timbre and texture, and melody. Mazel' segments his theory into different elements of music, presenting conceptions of each element in light of his integrated analytical method. The examination of these aspects affords a good cross-section of the entire theory of integrated analysis. The aspect of dimensions of thematic structures, in some ways the most original, reflects the structural and analytical tendencies of the theory of integrated analysis. Mazel' thinspace's discussion of dynamics, timbre, and texture is mainly concerned with perception and reflects those tendencies in the theory which examine the very nature of music as one of the arts. The treatment of melody combines both speculative and analytical tendencies. For Mazel' melody represents one of the most important elements of music. Integrated analysis represents an important achievement of Soviet theoretical thought in music. This thesis puts Mazel's theory of integrated analysis into historical perspective, indicating its origins, its context in Soviet music theory, and its place in Mazel' thinspace's overall output. Mazel' thinspace's formulation of the theory of integrated analysis represents only one of his contributions to Soviet musicological-theoretical thought. He is perhaps the most important living Soviet music theorist, and this makes a study of his works in the West all the more relevant.