|
||||||||
|
Volume 11, Number 2, June 2005
Copyright © 2005 Society for Music Theory
|
Brasky, Jill Tovah "'Far Have I Flown': Chromatic Dominants and Functional Transformations in Schoenberg's Gurrelieder." University of Buffalo, May 2005
AUTHOR: Brasky, Jill Tovah
TITLE: 'Far Have I Flown': Chromatic Dominants and Functional Transformations in Schoenberg's Gurrelieder
INSTITUTION: University of Buffalo
COMPLETED: May 2005
ABSTRACT: The climactic moment at the end of "Tauben von
Gurre!" (also known as the Song of the Wood Dove), from the last section of Part
I of Gurrelieder, is built on what appears to be a half-diminished
seventh-chord with a root of scale-step moving repeatedly and powerfully to
tonic triads. Traditional theory would likely account for this half-diminished
sonority as an alteration or embellishment of a more familiar functional chord.
The chord’s pivotal role in the harmonic language of the Song of the Wood Dove,
however, demands that this harmony be treated as a chord in its own right.
This study develops a systematic grammar for this half-diminished seventh-chord
(identified throughout as a half-diminished seventh chord with a nominal root of
scale-step 4), considering both its origins (as both an embellishing sonority
and an independent chord) in earlier music, and its various functional contexts.
Two broad categories emerge: stand-alone chords, where the half-diminished
sonority is the only chord that comes between a pair of tonic triads; and
embellishing chords, where the half-diminished seventh-chord is adjacent to at
least one another functional dominant and the group of them together resolve to
tonic. The study culminates in a close examination of the Song of the Wood
Dove--the song that motivated this project--with special attention to the
local-level and large-scale roles played by the half-diminished sonority.
CONTACT:
brasky@buffalo.edu
Mullin, Carolyn D. "Global Coherence in Selected Atonal Works of Anton Webern." University of Oregon, June 2005.
AUTHOR: Mullin, Carolyn D.
TITLE: Global Coherence in Selected Atonal Works of Anton Webern
INSTITUTION: University of Oregon
COMPLETED: June 2005
ABSTRACT: This study examines entire works from Anton Webern's atonal oeuvre (1908-1914) to show how global coherence is achieved through the notion of process. Talking about 'process' is a way of talking about music as it unfolds over time, as it happens dynamically, and it also takes into consideration how the composer thought about coherence. In a 1932 lecture Webern describes unity as “how one thing leads to another.” With this in mind, this study describes how coherence is expressed both within movements and through an entire work in Webern's Six Bagatelles for String Quartet (1911-1913), Cello Sonata (1914), and Three Short Pieces for Violoncello and Piano (1914).
The harmonic structure plays an important unifying role in each piece. However, Webern expresses coherence in several other ways as well, described analytically as contour-space segments, pitch interval successions, and rhythm (including duration successions and duration-space successions). These prove useful in reinforcing assertions I make regarding formal structure and descriptions about overarching processes that contribute to global coherence.
A process that I call 'focusing' is one way in which Webern expresses global
coherence over an entire work. In general, a process of focusing involves
musical materials being unclear or only suggested at the beginning of a piece,
then being clarified or realized in the middle, and finally focused into their
bare essentials by the end. As a result, a coherent progression can unfold
across a piece in different ways. Conversely, this process can also progress in
the opposite direction. In addition, there is evidence of nascent serial
technique as expressed through rhythm, contour, and harmony.
My interpretations of three of Webern's late atonal compositions offer a
different analytic perspective--adding another 'piece to the puzzle' of our
understanding of Webern's atonal music. By examining the processes that
contribute to global coherence in Three Short Pieces Op. 11, Cello Sonata, and
Six Bagatelles Op. 9, we can provide a thorough picture of how Webern creates
unifying structures across an entire work. Indeed, the kinds of coherence
displayed by Webern's pieces closely match concepts that many attribute to his
teacher, Arnold Schoenberg. This helps us to understand the Second Viennese
School itself as a coherent development.
KEYWORDS: global coherence, process, Op. 11, Op. 9, Cello Sonata, Webern
TOC:
INTRODUCTION
THREE SHORT PIECES, OP. 11
CELLO SONATA
SIX BAGATELLES, OP. 9
SUMMARY & CONCLUSIONS
CONTACT:
1740 Arthur Street
Eugene, Oregon
97402
541-683-3827
(through summer of 2005)
Ricci, Adam. "A Theory of the Harmonic Sequence." Eastman School of Music, University of Rochester, May 2004.
AUTHOR: Ricci, Adam
TITLE: A Theory of the Harmonic Sequence
INSTITUTION: Eastman School of Music, University of Rochester
BEGUN: May 2000
COMPLETED: May 2004
ABSTRACT:
The present study attempts to resolve inconsistencies found in previous discussions of the harmonic sequence by defining it as the pairing of a repeating series of root motions and a repeating series of voice-leading motions. The two components are first investigated separately. Building upon the work of John Clough, a classification scheme based upon the various ways of combining intervals of root motion is proposed. This scheme provides a framework for discussing unusual sequences that occur occasionally in music literature, including those whose patterns contain more than two chords. Methods for relating patterns of different cardinalities in the same scale and patterns of the same cardinality in scales of different sizes are developed. The distinction between sequences that begin and end with the same chord (prolongational) and those that begin and end with different chords (progressional) is generalized. An investigation into primitive types of voice-leading motion
s leads to a grouping of sequences by degree of voice-leading smoothness, a grouping whose connection to compositional practice is explored. Taken as a whole, the classification scheme demonstrates that the most-used sequences in the literature possess a certain constellation of properties. Harmonic sequences in passages by Bach, Beethoven, Brahms, Bruckner, Chopin, Purcell, Schubert, Schumann and Wagner are examined.
KEYWORDS:
harmonic sequence, voice leading, prolongation, voice-leading distance, Ich grolle nicht, Tristan und Isolde, Virga Jesse, reduction
TOC:
Chapter 1: Precedents
Chapter 2: Overview of Classification Scheme
Chapter 3: Pitch-class Space
Chapter 4: Pitch Space
Chapter 5: Analyses
CONTACT:
UNC Greensboro
School of Music
P.O. Box 26170
Greensboro, NC 27402-6170
adam_ricci@uncg.edu
336.334.3301 (office)
336.334.5497 (fax)
|
Copyright Statement
[1] Music Theory Online (MTO) as a whole is Copyright © 2005, all rights reserved, by the Society for Music Theory, which is the owner of the journal. Copyrights for individual items published in MTO are held by their authors. Items appearing in MTO may be saved and stored in electronic or paper form, and may be shared among individuals for purposes of scholarly research or discussion, but may not be republished in any form, electronic or print, without prior, written permission from the author(s), and advance notification of the editors of MTO.
[2] Any redistributed form of items published in MTO must include the following information in a form appropriate to the medium in which the items are to appear:
This item appeared in Music Theory Online in [VOLUME #, ISSUE #] on [DAY/MONTH/YEAR]. It was authored by [FULL NAME, EMAIL ADDRESS], with whose written permission it is reprinted here.
[3] Libraries may archive issues of MTO in electronic or paper form for public access so long as each issue is stored in its entirety, and no access fee is charged. Exceptions to these requirements must be approved in writing by the editors of MTO, who will act in accordance with the decisions of the Society for Music Theory.
Prepared by Brent Yorgason, Managing Editor