Structural and thematic effects of cyclic form in César Franck's Op.18 'Prélude, Fugue et Variation'

This thesis examines the structural function of cyclic form in César Franck's Op.18 Prélude, Fugue et Variation. The work consists of three sections, and the analysis focuses on thematic relationships, transformation techniques, and structural continuity among these parts. The recurrence and variation of thematic material within and across movements are analyzed alongside rhythmic organization and harmonic progressions. The study also provides a comparative analysis of the organ, piano, and harmonium versions of the work. These versions are evaluated in terms of their technical requirements, timbral characteristics, and compositional strategies. The implementation of cyclic form in each version and its implications for performance are discussed. The contrapuntal characteristics of the work, particularly in the fugue section, are examined in detail. The use of thematic material in this section is analyzed in relation to the preceding prélude, and its further transformation in the variation section is assessed from a structural perspective. As a result, the thesis objectively demonstrates how cyclic form is employed in the work and how it contributes to structural coherence and thematic unity. The findings are based on score analysis and version-based comparison, supported by established analytical methods within the field of music theory.