Dudeque, Norton E. "Tonal Harmony and the Concept of Monotonality in the Writings of Arnold Schoenberg"
AUTHOR: Dudeque, Norton E.
TITLE: "Tonal Harmony and the Concept of Monotonality in the Writings of
Arnold Schoenberg"
INSTITUTION: Universidade de Sao Paulo
BEGUN: January, 1994
COMPLETION: June, 1997
ABSTRACT:
This dissertation is a study on the main theoretical thoughts
on tonal harmony found in the published writings of Arnold Schoenberg.
Central to his concerns on the subject is the concept of monotonality
which permeates a great part of his tonal principles. The dissertation is
divided in six chapters. The first addresses the foundations of the tonal
system derived from the overtone series. The elements which contribute
for a definite tonal expression is the subject of the second chapter,
these are summarized by root progressions, characteristic pitches, and
the origin of the substitute tones. The concept of monotonality is
accomplished through the concepts of substitution, neutralization, and
tonal regions, these are the topics of the third chapter. Tonal function
is the subject of study in the fourth chapter. In schoenbergian theory
tonal function is discussed in two levels: a general and a specific. The
enlargement of tonal relationships is achieved by the concepts of
transference of function, transformation of chords, and by a special
category of chords which present an indefinite function: the vagrant
chords, they represent the best example of multiple function which is of
great importance in developing an enlargement of tonal relationships. The
latter subject is discussed in the fifth chapter which addresses the
Extended Tonality. The notion of an extended tonality begins with the
concept of the emancipation of the dissonances. This starting point is
further developed into the notions of an extended tonality which
comprises the concepts of suspended tonality and floating tonality, both
are complementary. The inclusion of non-tonal elements in a tonal context
is considered the last level of development in extended tonality. These
topics are illustrated in short analytical examples from works by
Schoenberg, Webern, and Berg. In the last chapter the analyses of two
songs by Schoenberg, "Erwartung", Op. 2, no 1, and "Traumleben", Op. 6,
no 1, illustrate most of the topics discussed in the dissertation. The
dissertation also aims to show the origin of some of the concepts and
notions present in schoenbergian theory. These are treated in a
secondary level of information and addresses subjects such as: root
progressions in schoenbergian theory and in Simon Sechter's theory; and
tonal regions, the Chart of Regions and its relation to Riemann's
function theory.
KEYWORDS: Theory, tonal harmony, schoenbergian theory, monotonality,
extended tonality, analysis.
TOC: Introduction: Arnold Schoenberg's Corpus Teoricus, Historical
Context. Chapter I: The Tonal System in Schoenberg's Theory. 1.1: The
Origin of the Tonal System for Schoenberg, 1.2: The Concept of Tonality,
1.3: The Development of the Tonal System. Chapter II: The Expression of a
Tonality. 2.1: Root Progressions, 2.2: Characteristic Pitches and the
Establishment of a Tonality, 2.3: Minor Tonality and its Characteristic
Pitches, 2.4: The Church Modes. Chapter III: Monotonality. 3.1:
Substitution, 3.2: Introduction of Substitutes "Quasi-diatonic" and
Chromatic, Neutralization and False Relation, 3.3: Regions in Major and
Minor, 3.4: Classification of Regions, 3.5: The Principle of
Monotonality. Chapter IV: Tonal Function, 4.1: Tonal Function: General
Concepts, 4.2: Tonal Function for Schoenberg, 4.3: Specific Functions:
4.3.1: Pitch Functions, 4.3.2: Root Functions, 4.4: Transference of
Function by Imitation, 4.5: Chord Transformation, 4.6: Vagrant Chords and
Multiple Meaning. Chapter V: The Expansion of Tonality. 5.1: The
Emancipation of the Dissonances and "Non-harmonic Tones", 5.2: Extended
Tonality, 5.3: The Last Elements in the Expansion of Tonality, 5.4:
Analytical Exemplification of Extended Tonality. Chapter VI: Analyses.
6.1: Analysis of "Erwartung" Op. 2, no 1, 6.2: Analysis of "Traumleben"
Op. 6, no 1. Conclusions.
CONTACT: norton@coruja.humanas.ufpr.br
AUTHOR: Foulkes-Levy, Laurdella
TITLE: A Synthesis of Recent Theories of Tonal Melody, Contour, and
the Diatonic Scale: Implications for Aural Perception and Cognition
INSTITUTION: State University of New York at Buffalo
BEGUN: January, 1994
COMPLETED: September, 1996
ABSTRACT:
This dissertation deals with the application of several recent theories of
music to musicianship training. The theories concern: (1) the hierarchical nature
of tonal melody, (2) reduction techniques which reveal common tonal patterns at
various levels of structure, (3) the relationship of these common patterns to
theories of the diatonic system, and (4) pedagogical concepts for developing
musical skills. The theorists whose work most clearly represents each of these
areas include Heinrich Schenker (tonal melody as hierarchical), Fred Lerdahl and
Ray Jackendoff (rhythmic reduction), Robert Morris (contour reduction), John
Clough (the diatonic system), and Erzs�bet Hegyi (aural skills pedagogy). After a
presentation of the theories, commonalities and correspondences among them become
the basis of a synthesis, presented as a working theory. This working theory in
turn serves as the basis for exercises and activities in aural skills training.
Musicianship training focuses primarily on features that are on the
surface of the melody. Schenker�s theories reveal the hierarchical nature of
tonal music, but deal more thoroughly with middleground and background structures.
Therefore, reduction techniques that concentrate on levels close to the surface
of the melody are more important here. Two reduction techniques are advocated:
one of these selects members of a higher level through regular rhythmic patterns,
the other through contour pitches.
Patterns that are revealed at various structural levels are common tonal
ones consisting of scales, scale segments, triads, seventh chords, neighbor note
figures, sequences, and non scalar segments of 3�5 pitches. These patterns are
referable to (ordered) diatonic segments as members of various segment classes. A
theory is devised to accomodate various classes of pitch and pitch-class segments
and unordered pitch-class sets. The patterns become the focus for aural training
exercises and activities designed primarily to improve skills in ear training,
sight singing, improvisation, and dictation.
KEYWORDS:
Tonal melody, contour, diatonic scale, perception, pedagogy,
cognition, musicianship, solfege, reduction, hierarchy
TOC:
Ch. 1. Introduction
Ch. 2. Review of the Literature
Ch. 3. A Synthesis of the Literature
Ch. 4. Pedagogical Applications
Ch. 5. Conclusion
CONTACT:
Laurdella Foulkes-Levy
Department of Music
University of Mississippi
University, MS 38677
mulfl@olemiss.edu
(601) 232-5116 (office)
(601) 232-7830 (FAX)
AUTHOR: Gonzalez-Lizausaba, Oswaldo
TITLE: A Formalized Analysis of Luciano Berio's Erdenklavier for
Piano solo, an Undulatory approach.
INSTITUTION: Ecole des Hautes Etudes en Sciences Sociales, IRCAM, CNRS (Paris).
BEGUN: November, 1996.
COMPLETED: June, 1997.
ABSTRACT:
This DEA (Master) dissertation is an analysis of Berio's
*Erdenklavier* for Piano solo (1969) with a new analytic system
called: Undulatory Analysis invented by Oswaldo Gonzalez-Lizausaba.
One of the fundamental postulates of the Undulatory Analysis
(UA) is that any work of music (acoustic or electronic) is
the result of a large undulatory process, that is, a metaphor
or projection in a very wide range of the sound as it
exists in the nature: a Soundwave. In consequence, each
musical work has its Natural Undulatory Segmentation.
This Natural Undulatory Segmentation conforms the
Global Undulatory Movement of the piece that represents in
itself its Undulatory model called: The Formal Undulation.
Another main postulate of the UA, is that any musical work
is the result or projection of a unique sound called the
Fundamental Wave of the piece. This Fundamental Wave is
conformed by the sum of all sounds (frequencies) used in the
piece, and it is the composer who positions each of this
sounds at different places of the work temporal-space as a
result of his or her compositional gestures (different
procedures, algorithms, etc.).
The UA also reconsiders the notion of musical repetition
which is reformulated as a part of the undulatory process of
any musical work. Any linguistic notion of repetition is
inoperative for this new analytic system. For the UA, the
repetition is undulatory (acoustic) and not linguistic.
This notion of repetition is supported with concepts and
ideas of French philosopher Gilles Deleuze.
A full analysis of Erdenklavier is realised and two models
of the piece are presented which can prove the validity of
this new analytical system. This models are:
The Algorithmic Model, which simulate the entire process
of the composition of the piece and the second model, divided
in two parts: the Formal Undulation and the Fundamental
Wave of Erdenklavier.
KEYWORDS:
undulation, form, Berio, Erdenklavier
TOC:
Acknowledgements
Table of Contents
Introduction
I General Presentation of the piece
I.1. The Choice of the piece
I.2. The Fundamental Conception of the work
I.3. The Generating Idea of the work
I.4. "Difference and Repetition" in Erdenklavier
II A Formalized Undulatory Analysis of Erdenklavier
II.1. General Description of the work
II.2. The Pitch Organisation
II.2.1. The Intervals
II.3. The Series in Erdenklavier
II.3.1. The Serial treatment
II.3.2. The Paradigmatic Series
II.3.3. The Organisation of Paradigmatic Series
II.4. The Temporal Organisation
II.4.1. The Duration Series
II.4.2. The Grouping of Duration in Cells-series
II.5. The Undulatory Segmentation
II.5.1. The Total Undulatory Extension of the Work
II.5.2. The Undulatory Segments
II.5.3. The Numbering of the Undulatory Segments
II.5.4. Analysis of the Undulatory Segments
II.5.4.1. The Undulatory Segments Series
II.5.5. The Paradigmatic Undulatory Movements
II.5.6. Analysis of the Global Undulatory Analytic Movement
II.5.6.1. The Period of the Global Undulatory Analytic
Movement
II.6. The Dynamic Structure of Erdenklavier
II.7. The Sustained Notes in Erdenklavier
II.8. The Damper Pedal
II.9. The Models of Erdenklavier
II.9.1. The Algorithmic Model of Erdenklavier
II.9.2. The Formal Undulatory Model of Erdenklavier
II.9.2.1. The Formal Undulation of Erdenklavier
II.9.2.2. The Fundamental Wave of Erdenklavier
III Conclusion
IV Annexes (includes a floppy disk with some sound examples)
V Index of Terms
VI Bibliography
CONTACT:
Oswaldo Gonzalez-Lizausaba
33, rue de l'Ermitage
95320 Saint Leu La Foret
France
tel. (01) 30 40 71 89 - Fax (01) 34 18 08 11
e-mail: ciimc@club-internet.fr
AUTHOR: Jacobus-Freund, Suzanne A.
TITLE: "The Art of Development: Development and the Development section
Seen Through the Eyes of Theorists, ca. 1775-1830."
INSTITUTION: Yale University
BEGUN: January 1995
COMPLETION: May 1998
ABSTRACT:
This dissertation seeks to trace the history of the idea of
development as a procedure that becomes centralized to a specific section
of a musical composition. The primary goal is to gain insight into how
Classical theorists understood development, both as it occurs in what is
commonly known as the development section of a sonata form movement as
well as in other locations. The principal theorists to be studied are
Heinrich Christoph Koch, Francesco Galeazzi, and Anton Reicha. The
writings of other theorists such as Joseph Riepel, Jerome- Joseph de
Momigny, Alexandre-Etienne Choron, Carl Czerny, and Adolf Bernhard Marx
will also be cited. This study will also examine the music of composers
cited by or contemporaneous with these theorists and look for links
between practice and theory.
KEYWORDS: development, Koch, Galeazzi, Reicha, Riepel, Momigny, Choron,
Czerny, Marx
TOC: I. Introduction
II. Development and Harmony
III. Development and Melody
IV. Other Issues
V. Conclusions
CONTACT: suzanne.jacobus@yale.edu
AUTHOR: Power, Richard S. TITLE: An Analysis of Transformation Procedures in Gyorgy Ligeti's String Quartet No. 2 INSTITUTION: University of Illinois at Urbana-Champaign BEGUN: April, 1994 COMPLETED: July, 1995 ABSTRACT: Gyorgy Ligeti's emigration from Hungary to Austria in 1957 gave him his first chance to study serial music firsthand. After a brief period of reflection he decided that serialism was not for him, but the insights gained from his examination of it, as well as his new experiences in electronic music, enabled him to develop a uniquely individual style based upon the transformation of musical parameters from one state to another. These transformation procedures are one of Ligeti's primary means of articulating form within his works. Although a great deal has been written about Ligeti's music, the importance of transformation procedures as a formal determinant has been largely neglected. The purpose of this dissertation is to analyze those procedures within the context of his String Quartet No. 2 (1968). This work is the first since his emigration to the West in which Ligeti explored the structural implications of a composition with more than two movements, and he has revealed in program notes and interviews that each of the Quartet's five movements follows the same formal plan, although on the surface they display widely different characteristics of expression and technique. After analyzing the movements individually in detail, it is shown that a series of fourteen stages occurs in each one. Following a brief biographical portrait of Ligeti the second chapter examines general features of his musical syntax. The third chapter discusses the general harmonic and rhythmic considerations within the Second String Quartet, as well as the various methods used to analyze the harmonic and rhythmic transformations. The fourth chapter proceeds with a detailed, objective analysis of each movement. Chapter five is more subjective in character, describing the fourteen-stage formal plan and how it is manifested within each movement. KEYWORDS: Ligeti, transformation, form, quartet, harmony, rhythm, violin, viola, cello, 1968 TOC: Introduction Chapter 1: Biographical Information Early Years Life Following World War II Emigration to Germany Chapter 2: Ligeti's Musical Syntax "Metamorphosis of Musical Form" "States, Events, Transformations" Ligeti's Style During the 1960's Chapter 3: General Harmonic and Rhythmic Considerations Within the Second String Quartet Harmonic Transformations Linear Motion Microtones Rhythmic Transformations Chapter 4: Analysis First Movement: "Allegro nervoso" Second Movement: "Sostenuto, molto calmo" Third Movement: "Come un meccanismo di precisione" Fourth Movement: "Presto furiosos, brutal, tumultoso" Fifth Movement: "Allegro con delicatezza" Chapter 5: Formal Parallelisms Conclusion CONTACT: Richard Power 2936 Barton Skyway, #408 Austin, TX 78746 email: r1power@aol.com phone: (512)347-0791
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