Analysis of Tonal Music A Schenkerian Approach

by Cadwallader, Allen; Gagne, David

• ISBN13: 9780199732470
• ISBN10: 0199732477
• Edition: 3rd
• Format: Hardcover
• Copyright: 2010-09-03
• Publisher: Oxford University Press

Summary

Analysis of Tonal Music: A Schenkerian Approach, Third Edition, is a comprehensive, logically organized introduction to the fundamental principles of Schenkerian technique. Rather than relying on stereotypical models or formulas, authors Allen Cadwallader and David Gagné use specific, memorable compositions to explain structural principles. This approach teaches students how to think about and critically examine music in ways that will inform their understanding and performance of great compositions of Western art music. Part I covers principles fundamental to the study of Schenkerian analysis and includes discussions of melody, counterpoint, bass-line structures, the imaginary continuo, linear techniques, and the essential properties of the Ursatz (fundamental structure). Part II presents complete compositions by formal category, beginning with one-part forms; proceeding through binary, ternary, and rondo forms; and concluding with the sonata principle. The book includes more than 200 analytical graphs--some new to this edition--an appendix on graphic notation, and a bibliography. NEW TO THE THIRD EDITION * Makes more frequent reference to the principles of strict counterpoint introduced in Chapter 2 * Provides enhanced discussions of harmonic structure and of the imaginary continuo as a tool for analysis (Chapter 3) * Places greater emphasis throughout Part 2 on Schenker's ideas on musical form * Reorders Chapter 9 to present the typical formal structures for binary form in a way that parallels Schenker's ideas about form and structure * Includes a new analysis of a Brahms Intermezzo (a composite ternary form) in Chapter 10 * Features a completely revised concluding chapter that discusses Schenker's ideas on form in relation to common tonal patterns (i.e., structural "paradigms") The third edition is supplemented by a thoroughly revised Student Workbook that guides students systematically through the process of analysis.

Author Biography

Allen Cadwallader is Professor of Music Theory at the Oberlin College Conservatory of Music. He is the editor of Essays from the Fourth International Schenker Symposium, Volume 1 (2008) and Trends in Schenkerian Research (1990) His articles have appeared in Music Theory Spectrum, Music Analysis, Intgral, Theory and Practice, and Journal of Music Theory. David Gagn is Associate Professor of Music Theory and the Music Theory Coordinator at Queens College, City University of New York. He is the coeditor of Structure and Meaning in Tonal Music: Festschrift in Honor of Carl Schacbter (2006). His articles and reviews have appeared in journals and books including. The Music Forum, Music Theory Spectrum, Indiana Theory Review, Intgral, Schenker Studies 2, and Trends in Schenkerian Research.

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
Some Characteristics of Melody	p. 15
Counterpoint	p. 21
Structural Melody	p. 34
Bass Lines and Harmonic Structure	p. 41
Tonic Harmony (T Class)	p. 42
Intermediate Harmonies (Int Class)	p. 46
Dominant Harmony (D Class)	p. 51
Larger Contexts	p. 56
The Imaginary Continuo	p. 66
Chord Prolongation: Summary	p. 68
Linear Techniques	p. 75
Linear Progressions	p. 75
Linear Intervallic Patterns	p. 86
The Neighbor Note	p. 97
Linear Intervallic Patterns: Summary	p. 99
Tonal Structure	p. 106
Notational Symbols	p. 106
Tonal Structure and the Ursatz	p. 109
The Bass Arpeggiation (Bassbrechung)	p. 113
The Fundamental Line (Urlinie)	p. 113
Structural Levels	p. 115
The Principle of Interruption	p. 116
More on the Ursatz	p. 120
Techniques of Melodic Prolongation	p. 127
The Initial Ascent	p. 127
The Arpeggiated Ascent	p. 129
Unfolding	p. 132
Motion into an Inner Voice	p. 135
Motion from an Inner Voice	p. 137
Voice Exchange	p. 139
Shift of Register	p. 142
Descending and Ascending Register Transfer	p. 142
Coupling	p. 145
Superposition	p. 147
Reaching Over	p. 147
Cover Tone	p. 152
Substitution	p. 154
The Phrygian$$$	p. 156
Mixture of ScaleDegree$$$	p. 159
Techniques in Combination	p. 160
Some Basic Elaborations of Fundamental Structures	p. 164
Mozart, Piano Sonata, K. 283, I, bars 1-16	p. 165
Beethoven, Piano Sonata, Op. 31, No. 1, II, bars 1-8	p. 170
Beethoven, Piano Sonata, Op. 14, No. 1, II, bars 1-16	p. 176
Beethoven, Piano Sonata, Op. 2, No. 1, II, bars 1-8	p. 181
Beethoven, Piano Sonata, Op. 10, No. 1, II, bars 1-16	p. 187
Mozart, Piano Concerto, K. 488, II, bars 1-12	p. 194
Beethoven, Piano Sonata, Op. 14, No. 2, 1, bars 26-47	p. 199
Some Points for Review	p. 204
Analytical Applications	p. 207
One-Part Forms	p. 212
Bach, Prelude in C major (WTC I)	p. 212
Schubert, "Wandrers Nachtlied"	p. 218
Schumann, "Lieb' Liebchen"	p. 225
Binary Forms	p. 233
Handel, Suite No. 5 in D minor, HWV436, Menuetto	p. 233
Bach, "Little" Prelude in C major, BWV933, Menuetto	p. 238
Corelli, Violin Sonata, Op. 5, No. 10, Gavotte	p. 241
Bach, Flute Sonata No. 2, BWV1033, Minuet 1	p. 244
Haydn, Piano Sonata, Hob. XVI/43, Minuet 2	p. 248
Mozart, Symphony No. 35, K. 385, Trio	p. 252
Auxiliary Cadences	p. 256
Ternary Forms and Rondo	p. 261
Beethoven, Bagatelle, Op. 119, No. 1	p. 261
Mendelssohn, Song Without Words, Op. 62, No. 1	p. 271
Schubert, Moment Musical, Op. 94, No. 2	p. 281
Haydn, Piano Sonata, Hob. XVI/37, III	p. 295
Brahms, Intermezzo, Op. 119, No. 2: Some Observations on Form and Structure	p. 303
Sonata Principle	p. 315
Clementi, Sonatina, Op. 36, No. 1, I	p. 316
Mozart, Symphony No. 35 ("Haffner"), K. 385, II	p. 322
Mozart, Piano Sonata, K. 457,1	p. 332
Some Common Tonal Patterns and Procedures	p. 358
Introduction	p. 358
Binary Forms	p. 359
Ternary Forms	p. 360
Sonata Principle	p. 365
Prolongational Spans	p. 373
Mixture and Large-Scale Tonal Plans	p. 379
Correspondence Between Patterns and Musical Examples	p. 381
Appendix introduction to Graphic Notation	p. 384
Open Noteheads	p. 385
Slurs and Filled-in Noteheads	p. 385
Beams	p. 388
Broken Ties	p. 390
Stems with Flags	p. 390
Diagonal Lines	p. 391
Diagonal Lines and Beams	p. 392
Rhythmic Notation at Lower Levels	p. 395
Roman Numerals	p. 396
Sample Graphic Analyses for Study	p. 398
Examples from Free Composition	p. 401
Selected Bibliography	p. 403
Index of Musical Examples	p. 411
Subject Index	p. 413
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