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Editors’ Introduction Brian Alegant | Reconsidering Debussy\u2019sBruy\u00e8res<\/em> Mark Sallmen | Transposition Networks and Network Chains in Schoenberg\u2019s Sechs kleine Klavierst\u00fccke<\/em>, Op. 19 Nancy Rogers | Hearing an Old Story in a New Way: An Analysis of Loewe\u2019s Erlk\u00f6nig<\/em> Michael Buchler | Are There Any Bad (or Good) Transformational Analyses? Su Yin Mak | String Theory: An Ethnographic Study of a Professional Quartet in Hong Kong Evan Jones | Dynamics and Dissonance: The Implied Harmonic Theory of J.J. Quantz Matthew Bribitzer-Stull | Die Geheimnisse der Form bei Richard Wagner<\/em>: Structure and Drama as Elements of Wagnerian Form J. Daniel Jenkins | \u201cIm Zusammenhang des Zw\u00f6lftonwegs sprechen\u201d: Reconsidering Pitch-class Sets in Schoenberg\u2019s Atonal Music Peter Franck | Structural Framing and Its Interaction with Linkage Technique
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PDF<\/a> \u2014\u2014 Abstract<\/em><\/strong><\/span><\/span>This analysis compares and contrasts two of Claude Debussy's pentatonic preludes, La fille aux cheveux de lin<\/em> and Bruy\u00e8res<\/em>. It argues that these works are remarkably similar in terms of form and harmonic language, but quite distinct in terms of their cadential structure and handling of foreign notes, which often serve as catalysts. Particular attention is paid to a nexus passage in Bruy\u00e8res<\/em> that sheds further light on Debussy's idiosyncratic and nuanced harmonic praxis.<\/span><\/span><\/span><\/span>
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PDF<\/a> \u2014\u2014 Abstract<\/em><\/strong><\/span><\/span>Using David Lewin's (1987) discussion of Schoenberg's Op. 19, No. 6 as a starting point, this article develops an analysis of all six movements of Op. 19 based on transposition networks. The analysis associates not only multiple statements of a given network but also networks related by retrograde, inversion, or both, which are said to be of the same network type<\/em>. Network-type repetition elucidates pitch-class connections within phrases, between adjacent and non-adjacent phrases within the same movement, and among passages from different movements. Since Schoenberg's pattern repetitions are often somewhat hidden, the analysis identifies features of the musical surface that help to clarify the network of relationships. The networks often create network chains<\/em>, which are (overlapping) series of networks of the same type and provide coherent ways to hear through complete phrases and movements. Network-type chains<\/em>, which involve multiple network types, organize the large-scale network structure of the entire opus.<\/span><\/span><\/span><\/span>
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PDF<\/a> \u2014\u2014 Abstract<\/em><\/strong><\/span><\/span>Carl Loewe is relatively unknown today, but he was well respected throughout Europe during his lifetime. Loewe\u2019s setting of Goethe\u2019s \u201cErlk\u00f6nig,\u201d dating from 1817\u20131818, became his best-known composition; of the approximately 100 known Erlk\u00f6nig<\/em> settings, it is second only to Schubert\u2019s in fame. Unfortunately, Loewe\u2019s Erlk\u00f6nig<\/em> setting has often been denigrated simply because it is not Schubert\u2019s. Rather than engaging in a misguided attempt to prove the inherent superiority of either setting, this article will address Loewe\u2019s music on its own terms. As Loewe himself reportedly proclaimed, there is more than one way to set a text.<\/span><\/span><\/span><\/span>
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PDF<\/a> \u2014\u2014 Abstract<\/em><\/strong><\/span><\/span>This article considers two related issues: how we envision methodology and evaluate success in transformational approaches to analysis. Inasmuch as methodology drives analysis, as Rings (2006) suggests, we might regard the transformational toolbox as collectively comprising a less robust analytical methodology than does, for example, Lerdahl and Jackendoff\u2019s A Generative Theory of Tonal Music<\/em> (1983). Indeed, to use GTTM<\/em> terms, we might say that transformational methods offer only well-formedness, not preference, rules. But when a method lacks preference rules, how can its applications be evaluated? If all well-formed analyses are equally good\u2014or at least valid\u2014then criticism (which is routinely considered integral to our field) becomes impossible and this article\u2019s title question becomes pertinent.<\/span><\/span><\/span><\/span>
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PDF<\/a> \u2014\u2014 Abstract<\/em><\/strong><\/span><\/span>Recent scholarship has witnessed welcome efforts to formulate models of \u201cperformer\u2019s analysis\u201d that expand the definition of analysis beyond its default meaning as the text-based, intra-opus examination of the score. Yet there remains within the field a strong tendency towards the binary opposition between performative\u2013practical and critical\u2013theoretical orders of knowledge; structure is often consigned to the domain of the latter, and its role within \u201cperformer\u2019s analysis\u201d has received little attention. This article reports on my attempt to redress the omission through an ethnographic study of a professional string quartet in Hong Kong. Quantitative and qualitative analysis of the rehearsal footage, along with interviews with the players, offers insights on how professional performers perceive, conceptualize, and communicate about musical structure. The research findings suggest that (1) metaphorical and embodied descriptions of music and (2) real-time, listening- and experience-based analysis can serve to mediate between theoretical and practical perspectives of musical structure. It also demonstrates how methodological interactions between theory and ethnography might contribute to such mediation. \n<\/span><\/span><\/span><\/span>
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PDF<\/a> \u2014\u2014 Abstract<\/em><\/strong><\/span><\/span>Chapter 17, Section 6 of Quantz\u2019s Versuch einer Anweisung die Fl\u00f6te traversiere zu spielen<\/em> (1752) includes a short original composition entitled \u201cAffettuoso di molto.\u201d This piece features an unprecedented variety of dynamic markings, alternating abruptly from loud to soft extremes and utilizing every intermediate gradation. Quantz\u2019s discussion of this example provides an analytic context for the dynamic markings in the score: specific levels of relative amplitude are prescribed for particular classes of harmonic events, depending on their relative dissonance. Quantz\u2019s categories anticipate Kirnberger\u2019s distinction between essential and nonessential dissonance and closely coincide with even later conceptions as indicated by the various chords\u2019 spans on the Oettingen\u2013Riemann Tonnetz<\/em> and on David Temperley\u2019s \u201cline of fifths.\u201d The discovery of a striking degree of agreement between Quantz\u2019s prescriptions for performance and more recent theoretical models offers a valuable perspective on eighteenth-century musical intuitions and suggests that today\u2019s intuitions might not be very different.<\/span><\/span><\/span><\/span>
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PDF<\/a> \u2014\u2014 Abstract<\/em><\/strong><\/span><\/span>Wagnerian operatic forms span a continuum. At one end lie the delineated, non-developmental, \u201cstructural\u201d kinds of shapes, at the other the \u201cformless\u201d streams of music that arguably depend on the extra-musical for their continuity and coherence. In between we find musical processes that embody more of a sense of motion and development than the fixed structures, but that cohere without the need of a text or programme. In this article I attempt to illustrate this range by applying my analytic methodology to two contrasting examples, one leaning heavily toward the structural (the Todesverk\u00fcndigung<\/em> scene from Die Walk\u00fcre<\/em> Act II, Scene 4) and the other (the Act II, Scene 2 love duet from Tristan und Isolde<\/em>) best understood as a musical representation of the drama. The overarching point I make with this comparison is that the range of Wagnerian formal techniques is best served by a flexible, multivalent analytic orientation.<\/span><\/span><\/span><\/span>
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PDF<\/a> \u2014\u2014 Abstract<\/em><\/strong><\/span><\/span>Arnold Schoenberg\u2019s 1911 pr\u00e9cis for a book on counterpoint called Das Komponieren mit selbst\u00e4ndige Stimmen<\/em> presages his interest in and return to counterpoint in Pierrot lunaire<\/em>. While many authors have pointed to the contrapuntal studies within Pierrot<\/em>, including \u201cNacht,\u201d \u201cDer Mondfleck,\u201d and \u201cParodie,\u201d what has not been previously discussed is how Das Komponieren mit selbst\u00e4ndige Stimmen<\/em>, and, by extension, Schoenberg\u2019s writings on counterpoint in general, could serve as a context for better understanding these contrapuntal Pierrot<\/em> songs. This article focuses on \u201cNacht.\u201d In the early reception of atonal period music within Schoenberg\u2019s circle, \u201cNacht\u201d emerged as a seminal work largely because it was seen as a harbinger of things to come. Reconsidering this early reception of \u201cNacht\u201d leads to analysis of passages from \u201cNacht.\u201d The article concludes with some thoughts about what this analysis suggests about the analysis of Schoenberg\u2019s atonal compositions in general.<\/span><\/span><\/span><\/span>
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PDF<\/a> \u2014\u2014 Abstract<\/em><\/strong><\/span><\/span>This essay investigates how structural framing (the motivic association of opening and closing gestures of a formal unit) interacts with linkage technique (Kn\u00fcpftechnik<\/em>), a Schenkerian concept concerning the method of having a concluding gesture in one passage become an initiating gesture in a passage that immediately follows. Although structural framing emphasizes discreteness by outlining formal units, and although linkage technique promotes continuity by stringing together adjacent formal units, both techniques can work together. The essay explains by using paradigms that model the interaction of structural framing and linkage technique and applying them to analyses of musical passages. In general, the essay showcases how content\u2014motives articulated via structural framing and linkage technique\u2014impacts the demarcation of formal units.<\/span><\/span><\/span><\/span>
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