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Volume 11, Number 2, June 2005
Copyright © 2005 Society for Music Theory

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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

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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)

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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)

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Updated 30 June 2005