Into the Foothills New Directions in Nineteenth-Century Analysis

8/9/2019 Into the Foothills New Directions in Nineteenth-Century Analysis

1/10

Society for usic Theory

Into the Foothills: New Directions in Nineteenth-Century AnalysisAuthor(s): Christopher LewisSource: Music Theory Spectrum, Vol. 11, No. 1, Special Issue: The Society for Music Theory:The First Decade (Spring, 1989), pp. 15-23Published by: on behalf of the Society for Music Theory

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2/10

n t o

t h

Foothil ls

N e w

Directions

n

Nneteenth Century

nalysis

Christopher

ewis

The musicof the nineteenthcentury,subsumingas it does

the last

effusions

of

mature

Classicism,

he full

growth

of Ro-

manticism and

post-Romanticism,

and the

beginnings

of

the

radical wentieth

century,

presents

an

immensely

varied

opog-

raphy

o the

theoretical

explorer. Curiously,

t is a

topography

that

bears some resemblance o that of

central

Alberta: the

city

of

Edmonton s

situated

on

the

edge

of

the

great

western

plains,

but as one leaves the buffalo flats and travels

westward,

the

land

subtly

changes.

Eventually,

without

quite

knowing

how,

the traveler inds himself in the foothills. Althoughthereis no

precise boundary,

nonetheless the terrain

s

somehow

differ-

ent.

Then,

as our traveler

continues

west,

he soon realizes

that

he is no

longer

in the

foothills,

but

actually

n the true moun-

tains,

although

again

there is no

single point

at which

he

leaves

the

one

for the

other. Each of these

topographies

has

its own

peculiar

characteristics,

ut it

is also true that

each

sharessome

of the

characteristics f

the

others;

so a

mountain

climber n a

small

valley

may, by

concentrating

his

gaze only

on the flat

patchof groundunder his own feet, imaginehimself stilldown

inthe

flatlands.He needs a widervision

to

place

his little

valley

in

its

proper

context amid the

surrounding eaks.

In

effect,

our

metaphorical

westward ravelerhas

passed

from

the common-

practice

plains,

through

the foothills of Romantic

and

post-

Romantic chromatic

onality,

only

to be faced with the formi-

dable ice-clad

precipices

of

the

twentieth

century.

One

of

the

most

intriguing

and most

provocativeaspects

of

the work of the Society'smembersover the last decade or so

has

been

the

growing

awareness

hat

post-Romantic

music

(by

which I mean

essentially post-Tristanmusic)

does indeed

con-

stitutea distinctmusical

style.

In

spite

of

many foreground

re-

semblances to earlier

practice

and

many foreshadowings

of

later

events,

just

as

the

foothills are

neither

merely

bumpy

plains

nor

flat

mountains, so,

we

are

discovering, post-

Romantic

music

is neither

merely

degenerate

tonality

nor em-

bryonic

atonality.

WilliamMitchell's 1962 paper, The Study of Chromati-

cism,

is

a

seminal work

in

the

analysis

of chromaticism t the

foreground

and an essential

startingplace

for

discussionof the

syntax

of

chromaticmusic.1Mitchell takes the still

provocative

view

that chromaticism

does not derive from a

system

of

seven

tones

plus

five tones but

rather

s

based

ultimatelyupon

a

scale

of

twelve

tones,

which

as

a

whole

may

for a time

supplant

he

diatonic scale. While he

notes the

symmetry

of

the chromatic

scale and

therefore ts

power

for tonal

diffusion,

Mitchelldoes

not find in chromaticmusic a new languagethat distinguishes

the

post-Romantic

rom

earlier

styles.

For

him,

chromaticisms

a means of

enriching

the diatonic

base

by interpolation

or

'In addition

to the work

of William

Benjamin

and

Gregory

Proctor,

see

bibliographic

entries

for

Roger

Beeson,

Benjamin

Boretz,

Matthew

Brown

( Diatonic

and

Chromatic ),

Lawrence

Kramer,

James

Marra,

Robert Mor-

gan ( Dissonant Prolongation ),

CharlesJ.

Smith,

and Hans Tischler.

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3/10

16

Music

Theory

Spectrum

replacement -even

when diatonic elements are

hidden

in

thebackground r arebrieflyheldin abeyance.That s, whilea

part

of the

piece may

be

chromatic,

he essential structure

of a

whole

piece

is

not.

William

Benjamin

proposes

a different source for some

chromaticisms,

attributing

hem to the

interlock

of

diatonic

collections

as

a kind

of

generalization

of

the

concept

of mix-

ture. For

Benjamin,

not

only parallel

major

and minor

modes,

but

any

two diatonic

collections,

may

interlock.

They

exhibit

musical

processes

which are relevant o a

given

context because

they illuminate an orderedunfoldingof events within that

context. 2

Benjamin

comments

upon

contextual

meanings

ex-

ternal to the

excerpt analyzed,

and

points

out that chromatic

detail

may

have

a more than local

significance.

Foreground

hromaticisms

certainly

not

unique

o

musicof

the

nineteenth

century.

As that

centuryprogressed,

however,

chromatic extures became

generally

more

pervasive,

and we

are

naturally

ed

to ask whether the chromatic

syntax might

penetrate

rom

the

foreground

nto the

middleground

nd

even

the background.Whenthathappens-if it happens-we really

are off the

plains

and

into the

foothills,

into

a new tonal

topog-

raphy.

If the common

practice

s founded on a diatonic

Ursatz,

then the abandonmentof that

fundamental tructure

ignals

a

new

practice.

In his

1978

dissertation,

Gregory

Proctor

explicitly

distin-

guishes

between two

common

practices,

which

he

calls classi-

cal diatonic

tonality

and

nineteenth-century

hromaticto-

nality.

In

the

former,

chromaticism s

generated according

o

Schenker's formulations of modal mixture and tonicization,

giving,

f

you

like,

a scale of seven tones

plus

five

tones. Inchro-

matic

tonality,

however,

Mitchell's twelve-note

scale is

the

source of all

tonal

material,

and

apparently

diatonic elements

are construedas

derivative

rom

t-in anachronistic

erms,

as a

subset

of it. In

turn,

the

underlying

chromaticism

may

allow

2Benjamin,

Interlocking

Diatonic

Sets,

34.

specifically

chromatic

structural

possibilities.

These involve

simple or layered ymmetrical ubdivisions f tonalspace,

asymmetrical

utnon-diatonic

divisions,

and

what Proctor

calls

the

transposition

operation -that

is,

exactly

parallel

har-

monic

motion,

with a

chromatic

result.

By raising

profound

questions

about the

ways

in

which

structural evels can be

linked,

andabout the

variety

of

possible

backgrounds

hat

the

chromatic

scale can

generate,

Proctor

opens

the door to

the

theoretical

discussionof a

possible

secondcommon

practice,

founded

upon

a

chromatic

underlying

tructure.

PatrickMcCrelesshasdiscussedsimilarproblems n several

papers.

He

proposes

that in certain

nineteenth-century

music,

while diatonic

linear

phenomena

are still

operative,

and

may

even

help

articulate he

larger

structure,

hey

no

longer

define

it.

Instead,

the fundamental

hape

of the

piece may

be

created

by

principles

hat are harmonicrather

than

linear,

and

chro-

maticrather han

diatonic. At

the same

time,

McCreless

races

with

precision specific

levels

of

interrelation

between

Schenker's

inear diatonic

system

and the

nineteenth

century's

harmonic,chromaticmusic.It is not, for him, a questionof all

one,

or all

the

other,

but

of an

interaction

of

the diatonic and

chromaticat

many

different evels.3

Certain

peculiar

pieces

from

the

early

part

of the

century,

most of

them

songs,

also

make us

wonder

whether heir basis s

a diatonic

background

epresenting

he

prolongation

of

a

single

consonant

triad. In his

1985

paper,

Harald Krebs discusses a

numberof

works that

seem to

violate the rule of

monotonality.

He

identifies three

possibilities

for deviant

backgrounds: 1)

two discrete, complete fundamental structures, one in the

opening

key

and one inthe final

key;(2)

an

incomplete

opening

fundamental

tructure,

ollowed

by

a

complete

one in the

final

3See

also

entries for Brown

( Diatonic

and

Chromatic ),

HowardCinna-

mon,

Edward

T.

Cone,

Edwin

Hantz,

Reed J.

Hoyt,

Roger

Kamien,

Richard

A.

Kaplan,

Irene M.

Levenson,

Cheryl

Noden-Skinner,

RichardS.

Parks,

Mi-

chael R.

Rogers,

and Felix

Salzer.



4/10

Into

he Foothills:

ew Directionsn

Nineteenth-Centurynalysis

17

key;

and

(3)

two

complete

but

overlapping

tructures. n

some

sense, he suggests, such works must ultimatelybe based on a

conglomeratecomprised

of the two fundamental riads. Krebs

does not

suggest

that the structural

ignificance

of an event

is

dependent

on

its

duration-that,

for

example,

because

a domi-

nant

is

short,

it

cannot

be the structural

dominant of a

long

piece.

The

point

at issue is

not

specific

harmoniesbut the con-

texts

in which

those

harmonies

are heard. In

common-practice

music,

the

tonal

context for the structuraldominant is estab-

lished

long

before

that

harmony

tself

occurs;

we

already

know

what t will be and aremerely waiting or when it willhappen.It

is

thus

the

duration

of

a

single

tonal context that allows us to

hear

the work as

expressing

a

single

tonic

prolongedthrough

time,

and it

is that

single

tonal

context

that

is

missing

in the

works Krebs discusses.

He notes that

in the

songs

the different

tonal contexts often

reflect

aspects

of the text.

An extension

of

this

line of

thought

might

show

that there

are

simply

different

rules for the structuresof texted and

non-texted

works,

and

it

may

be

profitable

to examine

the successive stanzas of

such

songs as if they were almost independent pieces. In other

words,

some

of the

deviant

songs

may actually

work as

con-

tinuous

cycles

rather

han as

single pieces.

It

is

precisely

on the absence of

a

single

tonal context

that

Robert

Bailey

has

predicated

his

theory

of the double-tonic

complex,

most

fully

described

n

his

essay

on

the

TristanPrel-

ude,

whichhe considers o

be the firstwork to

exploit

systemat-

ically

the

principle

n

question.

Bailey

proposes

hat those

post-

Romantic works which

progress

from one tonic to another

do

more than start in one key and eventually close somewhere

else-as

is

the case with Krebs's deviant works

from the

early

part

of the

century-since

the

actual

progression

s

only

one as-

pect

of the tonal

organization.

The essential feature

s the

pair-

ing

together

of

two

tonalities a minor third

apart

n such a

way

as to form a double

tonic

complex,

each tonic

of

which

is

as-

sociated with

its own chromaticmode. The two

elements of the

complex

are linked so that either

may

serve

as

the local

repre-

sentative of the

tonic;

they may

actually

co-exist,

with one of

themin a primarypositionand the other subordinate.Sinceei-

ther triad

may

predominate

at

the

beginning

of the

piece,

and

either at the

end,

the tonal

design may

or

may

not be

progres-

sive. The

paired

tonics

generate

the

harmonicelements

of the

background

s well as

many aspects

of the

foreground

exture.4

Deborah Stein's

monograph

on the Lieder

of

Hugo

Wolf

is

founded

upon

the

analyticalmethodology

of

Schenkerian

anal-

ysis,

but considers he extent to

which certain

other

techniques

may supplement

hat

methodology

n

exploring

he extended-

tonal techniques of late nineteenth-centurymusical struc-

tures.

By

means of dominant

replacement

at the

foreground

and

middleground,

and

expansion

of

the

plagal

domain,

Wolf

sometimesundermines he

conventionaldominant-tonic

olar-

ity.

Stein shows that Wolf uses third

relationships

n

three

ways:

(1)

so that

they

are subsumed

by

a

common-practice

onal

background,

as in the

music

of

Haydn,

Beethoven,

and Schu-

bert;

(2)

to create

more

complex

harmonic

structures,

which

Stein calls

chainsof

thirds,

providing,

for

example,

a back-

ground progressionof I-III-bVI-I;and (3) as elements of a

double-tonic

structure

exhibiting

progressive

tonality-

movement from

one tonal

context

to

another. Stein observes

that in

common-practice

music which does not

begin

in the

tonic,

the

deceptive

opening -to

use Schenker's erm-is ul-

timately

subsumed

by

the

closing.

In a

progressively

tonal

work,

the

opening

remains n

dynamic

contrast o the

closing,

and

the

process

of

transformation rom one to the other is the

criticalaural

experience

of the

piece.

Thematic and motivic aspectsof nineteenth-centurymusic

4See

also

entries for V.

Kofi

Agawu ( Tonal

Strategy

and

Kindertoten-

lieder ),

Bruce

Archibald,

L.

Poundie

Burstein,

Robert

L.

Clark,

Graham

George,

William

I.

Jones,

William

Kinderman,

Raymond

Knapp,

David Law-

ton

( Tonal

Systems ),

Sigmund

Levarie,

David

Lewin

( Amfortas's

Prayer ),

Christopher

Lewis,

Ann K.

McNamee,

Sarah J.

Reid,

and

Nadine

Sine.



5/10

18

Music

Theory

Spectrum

have not been

ignored

in

the recent

literature,

and

Schoen-

berg's

theories are a

useful

startingpoint

for a number of re-

searchers.5

Walter

Frisch'sBrahms

and the

Principleof

Devel-

oping

Variation

investigates

Schoenberg's fragmentary

theories

of

thematic

continuity

and

economy,

and

applies

hem

to a

selection of

Brahms's

larger

instrumental

works.

Frisch

finds

important

models

for those

thematic

procedures

in

Beethoven,

Schubert,

Schumann,

and

Liszt,

but shows

Brahms's

unique

interpretation

of

thematic

transformation,

metrical

displacement,

inkage

technique,

and

continuousmo-

tivic

reinterpretation.

Schoenberg's

heories

also inform Patricia

Carpenter's

x-

ploration

of

motivic

coherence and tonal

relationships

in

Grundgestalt

s

Tonal

Function. Her

linking

of the

two,

showing

that

Grundgestalt

can

function

variously

in tonal

music-in

motive,

in

theme,

in

structural

design,

in

tonal

logic-elucidates

a

musical

coherency

hat

complements

hat of

the

contrapuntal

voice

leading.

The motivic-tonal

cross-

referencing

he finds n Beethoven

seems of

increasing mpor-

tance in

the

post-Romantic

idiom,

as the familiardiatonic

structural

nderpinnings

ecome more

diffuse.

A

trilogy

of

papers by

Allen Forte discusses the motivic

character of

three

post-Romantic

masterworks

against

a

Schenkerian,

rather than

a

Schoenbergian, background.6

Defining

motives

very

liberally,

essentially

as an

intervallic

boundary

rather

han a

complete

physiognomy,

Forte

demon-

stratesthat in

these

pieces

motivic

design

and

structural evels

are

intimately

connected,

and he

shows the

primal

significance

5In

addition o

the articles

by

WalterFrischand

Patricia

Carpenter,

ee

the

two

essays by

Graham

Phipps.

6For

other discussionsof

thematic, motivic,

andformal

processes,

see en-

tries for

Carolyn

Abbate,

Brown

( Isolde'sNarrative ),

Arno

Forchert,

Philip

Friedheim,

Hantz, Levenson,

Roger

Parker,

Parkerand

Brown,

and

Ruth A.

Solie.

of the

motives as a

determinantof

musical

gesture

at the

fore-

ground

and

middleground.Identifying

an

importantpath

for

future

research,

Forte

speculates

that the

motivic

penetration

of

the

middlegroundmay

be a

structural

spect

of

widespread

significance

nall

musicof the

laternineteenth

century.

In

par-

ticular,

he notes

that

specific

pitch

classes and

dyads

serve as

structural

determinants,

nitiating

or

terminating

crucialmo-

tions or

providing

structural

ross-references. n a

fourth

pa-

per,

Forte

applies pitch-class

set

theory

to

Liszt'slater

music

and finds

a

systematic

expansion

of

traditional

voice

leading

and

harmony

that

produces-at

more than

one level-

sonorities hat

are not

part

of

the central

syntax

of tonal

music.

The

variety

of

analytic positions

now

available is demon-

strated n the

papers by

Kofi

Agawu,

Peter

Bergquist,

and

Ri-

chard

Kaplan

on

the

Adagio

of

Mahler's Tenth

Symphony.

They

illustrate

not

merely

the

usefulness,

but indeed

the neces-

sity,

of

looking

at

post-Romantic

music

from as

manypoints

of

view

as

possible.

None of

them is

wrong;

each of them is

right

n

ways

that the

others are

not;

andeven taken

together they

are

far from

providing

he

lastword on

Mahler'sTenth.

One of

our

greatest

challenges

n the next decade

will

surely

be

to frame

formal

systemic

reconciliations

among

Schenker-

ian,

Schoenbergian,

set-theoretical,

double

tonical,

and

other

approaches

o late

tonal music. It

is essential hat

we

con-

tinue to find

ways

to

regard

the various

analyticalpostures

as

complementary

ather

than

antithetical.Meanwhilework

will

continue

in other areas I

have

not

even mentioned in

this

re-

port:

the

analysis

of

music with

explicit

or

implicit

text,

of

the

cyclic

natureof sets of

pieces,

of

multi-movement

ymphonic

designs,

of

non-musical

analogues

or

musical

processes,

and

so

on.

The

appended

bibliography

contains numerous

tems

not

discussed

n

my

text,

but even so

mustbe

regarded

as a

selective

listing.

It

should be read

not as an

identificationof the best

papers produced,

but as an

overview of

several

approaches

o

the

many problems

posed

by

nineteenth-century

music.

With



6/10

Into he

Foothills:

ewDirectionsn

Nineteenth-Century

nalysis

19

few

exceptions,

the

papers

have

been selected so

they may

be

grouped

to

form

small

symposia

on

specific opics.

The

groups

may

be as small

as

the

pair

of

essays

by

Howard

Cinnamonand

Edwin Hantz on Liszt's

Blume und

Duft,

or

as

large

as

the

set

about

opera:

Abbate,

Archibald,

Bailey,

Brown,

Burstein,

Chusid,

George,

Kinderman,

Knapp,

Lawton,

Levarie,

Leva-

rie

and

Marco,

Lewin, McCreless, Mitchell, Parker,

and

Parker

and Brown. Arthur Wenk's

bibliography

s a

particu-

larly

useful additionalresource.

Charles Rosen wrote a few

years ago

in the New York Re-

view

of

Books that

good taste

is a barrier

o

our

understanding

and

appreciation

of

the nineteenth

century. 7

What

he

meant,

of

course,

is that

eighteenth-

or

twentieth-century ood

taste

is

not

nineteenth-century

aste.

The

nineteenth

century

must

be

approached

on its own

terms,

not on those

of

other eras.

To

do

that we must

recognize

the

tremendous

variety

and

complexity

of

nineteenth-century

compositional premises,

and

adopt

a

corresponding nalytic lexibility

and

originality.

We've

made a

good

start.

7Charles

Rosen,

New Sound of

Liszt,

New York Review

of

Books 29

(April

12,

1984);

cited

in Alfred

Brendel,

The Noble

Liszt,

New York Re-

view

of

Books 33

(November

20,

1986),

3.

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Documents

Into the Foothills New Directions in Nineteenth-Century Analysis