Analysis of Tonal Music A Schenkerian Approach

by Cadwallader, Allen; Gagne, David

• ISBN13: 9780195301762
• ISBN10: 0195301765
• Additional ISBN(s): 9780195102321, 9780199732487
• Edition: 2nd
• Format: Hardcover
• Copyright: 2006-12-26
• Publisher: Oxford University Press
• More Book Details
• Purchase Benefits

Summary

Designed as an introductory text for upper-level undergraduates and beginning graduate students, Analysis of Tonal Music: A Schenkerian Approach, Second Edition, explains the fundamental principles of Schenkerian analysis by focusing on the music itself. Intended for use in one- or two-semester courses on Schenkerian theory, this text will also appeal to individuals interested in Schenker's work. The book assumes no prior knowledge of the subject, but it does require a background in harmony and voice leading; a familiarity with species counterpoint is also desirable. The authors develop Schenkerian techniques through the practical analysis of specific compositions, an approach that parallels the evolution of Schenker's work. The book explains structural principles in actual composition rather than through models and formulas, and teaches students how to think about and critically examine compositions in ways that will inform their understanding and performance of great compositions of Western art music. The first part of the volume provides the foundation for the analysis of complete pieces and includes discussions of melody, counterpoint, bass-line structures, the Imaginary Continuo, linear techniques, and the essential properties of the Ursatz and its elaborations; the presentation of complete compositions in Part II is organized by formal category. The revised concluding chapter summarizes many of the general tonal patterns that recur throughout the literature. The book includes more than 200 analytical graphs, musical examples--some new to this edition--and a bibliography. Analysis of Tonal Music: A Schenkerian Approach, Second Edition, provides a comprehensive introduction to Schenker's ideas and demonstrates how they can be applied toward a better understanding of tonal music. Features of the Second Edition * NEW: An accompanying Student Workbook containing thirty-four exercises with guided analyses * Adds a primer on graphic notation (as an appendix) * Places greater emphasis on the Imaginary Continuo as a tool for analysis * Introduces interruption technique earlier and in more depth * Provides new examples in Chapter 9 that demonstrate the common middleground plans underlying Baroque binary movements * Delves more deeply into rhythmic principles * Features a completely revised Chapter 12, which now presents common tonal patterns (structural "paradigms") * Includes suggestions for further analysis at chapter ends and refers students to appropriate workbook exercises

Author Biography

Allen Cadwallader is Professor of Music Theory at the Oberlin Conservatory of Music David Gagne is Associate Professor of Music Theory at Queens College and The Graduate Center, City University of New York

Table of Contents

Preface	p. xi
Basic Principles	p. 1
Introduction	p. 3
Beethoven, Piano Sonata, Op. 2, No. 1, I	p. 4
Melody and Counterpoint	p. 15
Melody	p. 15
Counterpoint	p. 23
A Sample Analysis	p. 35
Bass Lines and Harmonic Structure	p. 41
Tonic Harmony (T Class)	p. 42
Intermediate Harmonies (Int Class)	p. 46
Dominant Harmony (D Class)	p. 49
Larger Contexts	p. 52
The Imaginary Continuo	p. 62
Chord Prolongation: Summary	p. 63
Linear Techniques	p. 69
Linear Progressions	p. 69
Linear Intervallic Patterns	p. 80
The Neighbor Note	p. 91
Linear Intervallic Patterns: Summary	p. 93
Tonal Structure	p. 99
Notational Symbols	p. 99
Tonal Structure and the Ursatz	p. 102
The Bass Arpeggiation (Bassbrechung)	p. 107
The Fundamental Line (Urlinie)	p. 108
Structural Levels	p. 109
The Principle of Interruption	p. 110
More on the Ursatz	p. 114
Techniques of Melodic Prolongation	p. 119
The Initial Ascent	p. 119
The Arpeggiated Ascent	p. 121
Unfolding	p. 124
Motion into an Inner Voice	p. 127
Motion from an Inner Voice	p. 129
Voice Exchange	p. 131
Shift of Register	p. 134
Descending and Ascending Register Transfer	p. 134
Coupling	p. 137
Superposition	p. 139
Reaching Over	p. 139
Cover Tone	p. 144
Substitution	p. 147
The Phrygian 2	p. 147
Mixture of Scale Degree 3	p. 150
Some Basic Elaborations of Fundamental Structures	p. 153
Mozart, Piano Sonata, K. 283, I, bars 1-16	p. 154
Beethoven, Piano Sonata, Op. 14, No. 1, II, bars 1-16	p. 159
Beethoven, Piano Sonata, Op. 2, No. 1, II, bars 1-8	p. 164
Beethoven, Piano Sonata, Op. 10, No. 1, II, bars 1-16	p. 170
Mozart, Piano Concerto, K. 488, II, bars 1-12	p. 177
Beethoven, Piano Sonata, Op. 14, No. 2, I, bars 26-47	p. 182
Some Points for Review	p. 188
Analytical Applications	p. 191
One-Part Forms	p. 195
Bach, Prelude in C major (WTC I)	p. 195
Schubert, "Wandrers Nachtlied"	p. 201
Schumann, "Lieb' Liebchen"	p. 208
Binary Forms	p. 215
Haydn, Piano Sonata, Hob. XVI/43, Minuet 2	p. 216
Mozart, Symphony No. 35, K. 385, Trio	p. 221
Bach, Flute Sonata No. 2, Minuet 1	p. 224
Corelli, Violin Sonata, Op. 5, No. 10, Gavotte	p. 228
Handel, Suite No. 5 in D minor, HWV 436, Menuetto	p. 231
Bach, "Little" Prelude in C major, BWV 933, Menuetto	p. 234
Auxiliary Cadences	p. 239
Ternary Forms and Rondo	p. 243
Beethoven, Bagatelle, Op. 119, No. 1	p. 243
Mendelssohn, Song Without Words, Op. 62, No. 1	p. 253
Schubert, Moment Musical, Op. 94, No. 2	p. 263
Haydn, Piano Sonata, Hob. XVI/37, III	p. 277
Sonata Principle	p. 287
Clementi, Sonatina, Op. 36, No. 1, I	p. 288
Mozart, Symphony No. 35 ("Haffner"), K. 385, II	p. 294
Mozart, Piano Sonata, K. 457, I	p. 304
Some Common Tonal Patterns	p. 327
Introduction	p. 327
Binary Forms	p. 328
Ternary Forms	p. 329
Sonata Principle	p. 334
Prolongational Spans	p. 340
Mixture and Large-Scale Tonal Plans	p. 347
Correspondence Between Patterns and Musical Examples	p. 349
Introduction to Graphic Notation	p. 351
Open Noteheads	p. 352
Slurs and Filled-in Noteheads	p. 352
Beams	p. 355
Broken Ties	p. 355
Stems with Flags	p. 357
Diagonal Lines	p. 357
Diagonal Lines and Beams	p. 360
Rhythmic Notation at Lower Levels	p. 362
Roman Numerals	p. 362
Sample Graphic Analyses for Study	p. 365
Examples from Free Composition	p. 368
Notes	p. 369
Selected Bibliography	p. 389
Index of Musical Examples	p. 395
Subject Index	p. 397
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