Dissertation Index
Author: Wu, Yi-Cheng Daniel Title: Reflection and Representation: A Unitary Theory of Voice Leading and Musical Contour in 20th-Century Atonal and Serial Contrapuntal Music Institution: University at Buffalo Begun: August 2008 Completed: June 2012 Abstract: In tonal music, harmonies are typically categorized as triads or seventh chords, whereas post-tonal music allows for harmonies that include any interval combination, often leading to perceptions of obscurity and confusion among listeners. In response, some composers, such as Anton Webern, have sought to maintain uniformity and coherence by focusing on the transition between adjacent harmonies and the flow of pitches. This approach involves intricate voice leadings that repeat across different time points through imitation, a technique predominant during the late Renaissance that lacked conventional cadences similar to those in tonal music. This similarity in compositional challenges suggests a potential for formal clarity in post-tonal music through varied imitative styles and textures. Despite these techniques, listeners often struggle to discern formal sections within the complex textures of post-tonal music. This issue highlights the need for a theoretical framework that helps listeners identify shifts in musical texture and imitation style, which define formal sections. Current music theory often treats voice leading and pitch contour as distinct elements, yet understanding their interaction is crucial for analyzing post-tonal music. My dissertation introduces "contextual counterpoint," a new theoretical approach that integrates these elements, allowing for a nuanced comparison of formal sections across compositions. To illustrate the practical benefits of this theory, I analyze works by Charles Ives, Luigi Dallapiccola, and György Kurtág—composers from diverse backgrounds and time periods who employ varying techniques such as twelve-tone and atonal music. This analysis not only demonstrates how twentieth-century composers use voice leading and pitch contour to delineate formal sections but also enhances listener engagement by elucidating the interplay between imitative and non-imitative sections, and between uniform and complex pitch contours. This theoretical approach promises broader applicability for analyzing a range of post-tonal compositions, thereby offering new insights into the structural dynamics of contemporary music. Keywords: contour theory, harmonic density, post-tonal contratunal music, imitative voices, Charles Ives, Luigi Dallapiccola, György Kurtág, Heterophony TOC: 1 Critique of Current Theories of Contour and Voice Leading 2 Contextual Counterpoint and Heterophony 3 Analyses: The Vertical Dimension 4 Analyses: The Horizontal Dimension 5 Conclusion Contact: ywu7@buffalo.edu |