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Anca PREDA-ULIŢĂ1
Key words: Schenkerian analysis, post-tonal music, Semper idem sed non
eodem modo
1
Faculty of Music, Transilvania University of Braşov.
86 Bulletin of the Transilvania University of Braşov • Series VIII • Vol. 6 (55) No. 2- 2013
has important implications for the analysis analysis to post-tonal music have met two
of post-tonal music which often requires major concerns. The first – an issue that is
elasticity when connecting clear structural common to Schenkerian analysis but is
points. Schenkerian analysis has been amplified when considered in the context
exploited for its capacity to establish a of post-tonal music – is the problem of
formal and structural necessity of a coda or adherence to a strict background model
of a greater section trough a formula that and the second is the ability to determine
finds a central point, a closing chord that whether a particular note is inherently or
defines a musical structure. Due to the contextually consonant or dissonant.
sophistication of Schenkerian analysis, The theorist that studied and applied
theorists should not disregard its potential Schenkerian analysis for both tonal and
to elucidate non-tonal music. post-tonal music concluded that adherence
Taking into account the fact that the to a strict background model proves to be
Ursatz is intractable and that the voice an issue. In tonal analysis, the potential
leading reductions may vary, comparing problem is at the same time practical and
such results to the Ursatz can provide a conceptual, because of the risk of arbitrary
heightened understanding of form, voice note-picking in order to fulfil the necessary
leading procedure, or contrapuntal background requirement. However,
structure in a non-tonal context. In post- Nicholas Cook [7, p.2] discusses the
tonal music, these aspects are very conceptual priority of analysis in music
important. Also, giving the fact that there theory, for the reason that when one loses
are more options in the process of analysis, sight of this, “the analyst has come to
it is best to consider that a piece is related believe that the purpose of a piece of music
to the Ursatz than seeing the Ursatz as is to prove the validity of his analytical
being the purpose. Therefore, when method, rather than the purpose of the
analysing post-tonal music from a analytical method being to illuminate the
schenkerian perspective, one has to look music…” Hence such issues exist in tonal
for the tonal aspects, without being music, in which Schenkerian analysis is
necessary to identify the classical generally accepted, they are only amplified
background structure – the traditional when applied to post-tonal music.
Ursatz. Regarding the matter of prolongation,
One must develop a system of criteria for Schenker states in his Tonwille that “the
accomplishing such analyses based on the life of the tone thrives in consonance and
schenkerian model, considering the fact dissonance” (8) explaining how a tone is
that the repertoire under consideration prolonged and how it is places in a musical
moves farther from the tonality for which context in order to determine the difference
Schenker’s theories were developed, the between consonance and dissonance. In
philosophical acceptance of extending order to correctly distinguish the
Schenker’s methods becomes insufficient. prolongation in a particular piece, one has
At the forefront of this subject is the extent to come to a conclusion whether a
to which post-tonal music can exhibit sufficient syntax has been established to
prolongation. make prolongation claims.
Some theorists claim that the
4. Prolongation in post-tonal music prolongation is somehow similar to
embellishment, requiring certain
The theorists that approached and conditions - contextual or inherent - for
debated the application of Schenkerian tonal stability. The ears perception is that
A. PREDA-ULIŢĂ: Adaptaţions of the Schenkerian Analysis of the Post- tonal Music 89
less stable notes require resolution to more Some believe that the analyst should
stable notes. In the case of contextual consider a piece as a whole and focus on
stability of a less stable note, the ear hears how şchenkerian analysis can be helpful in
“a more stable pitch to which it tends to the process of comprehend it, concluding
move and a path that would take it there..." that it can be beneficial even for post-tonal
Inherent stability, as defined by Larson, is works, despite the tonal ambiguity and the
the consonance. fact that they cannot be reduced to a
In his book, Structural Hearing, Salzer, traditional Ursatz.
one of Schenker’s students and who However, given the fact that Schenker 's
approached post-tonal music analysis did unmodified theories can be only applied to
not try to alter or argue the prolongation tonal music, the debate seems to surround
theories of his teacher in order to include the question of whether an altered form of
them. Describing the opening of Ravel’s the theory can still be considered
Jeux d’Eau, he mentions that one of the Schenkerian. While it is well known that
outstanding revolutionary achievements of the concept of Ursatz is central to
contemporary music is „the contrapuntal Schenker’s theory, no one claims that post-
prolongation of dissonant chords, tonal music contains an Ursatz, therefore
especially polychords... The whole the analyst has to adapt to the context of a
[opening section of Jeax d’Eau] is typical predominantly tonal but extremely
of French impressionistic style insofar as complex musical language of post-tonal
the triad, as an architectonic factor of music.
structure as well as of prolongation, is
replaced by seventh chords and altered 6. Conclusions
chords.” Also, Salzer claims that the
connection with a “clearly directed voice Regarding post-tonal music, a Schenker
leading” is sufficient to establish a influenced reduction generated through the
prolongation without emphasis on chord secondary elements may show tonal
functions – generally essential to features in the context of the piece, without
schenkerian theory. necessarily reaching an abstract
background structure. Basically this
5. Applications reduction compared to the Ursatz that is
particular for tonal music could reveal
Considering Schenker's unique intentions major differences that could indicate the
regarding the analysis and also some lack of tonality, allowing in the same time
previous applications of his method, and the finding of traditional tonal elements in
prolongation issues, it is appropriate to terms of the piece itself and not necessarily
establish benefits and limitations of in comparison to an abstract background
applying it to post-tonal music. Thus, structure.
reconsidering the Ursatz as an indication of Consequently, an approach that does not
tonality, one should determine if it is treat this highly sophisticated musical
beneficial to determine a contrapuntal language as either a deformation of the
structure for that piece. Whether reducing classical style or as a primitive version of a
the piece to such a structure to represent future one is to be avoided. However, the
the essence of the whole is helpful, has existing tonal movements or cues are not
been an issue debated by analysts who to be overlooked, nor the non-traditional
approached the extensions of Schenkerian sonorities within tonal syntax.
analysis.
90 Bulletin of the Transilvania University of Braşov • Series VIII • Vol. 6 (55) No. 2- 2013
Thus, referring to Schenker 's motto, In: Journal of Music Theory 31 (1987)
semper idem sed non eodem modo, one can No. 1, p. 1–2.
consider adaptations of his theories to the 5. Salzer, F.: Structual Hearing, vol. 1.
analysis of post-tonal music. These New York. Dover Publications, Inc,
theories have been formulated strictly for 1962.
tonal repertoire but, without setting limits 6. Schenker, H.: Der Tonwille, Vol. I,
based on the nature of the methodology Drabkin W. (ed.). Oxford: Oxford
described by Schenker, the Ursatz can be University Press, 2004.
considered to be a basic framework within 7. Cook, N.: A Guide to Musical
which their artistry flourishes. Furthermore Analysis. New York. G. Braziller,
searching for its equivalent – a basic 1987.
untraditional scheme or, in other words, a 8. Baker, J. M.: Post-Tonal Voice-
contrapuntal structure with tonal elements, Leading. In: Models of Musical
as revealed in the context of the analysed Analysis: Early Twentieth-Century
piece, becomes necessary. And because Music, Dunsby J. (ed.). Oxford.
Schenkerian analysis is reliant upon Blackwell, 1993.
oppositions, the creation of a hierarchy of 9. Baker, J. M.: Schenkerian Analysis
pitches based upon the criteria regarding and Post-Tonal Music. In: Aspects of
contrapuntal and harmonic elements can be Schenkerian Theory, Beach D. W.
achieved through the tonic and dominant, (ed.). New Haven, CT. Yale Univ.
consonance and dissonance, tension and Press, 1983, p. 153-186.
resolution, salient and less salient. Also, 10. Berry, D. C.: A Topical Guide to
links between pitches and characteristic Schenkerian Literature: An Annotated
movements showing voice leading can be Bibliography with Indices. Hillsdale,
observed even outside a tonal context. NY: Pendragon Press, 2004.
11. Forte, A.: New Approaches to the
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