Modal ethos and semiotics in tonal music : Bach, Mozart, Beethoven, Schumann, Brahms, Massenet, Mahler and Debussy

This work examines a specific technical and expressive means by which the various ecclesiastical modes persisted and were integrated into compositional practices of the tonal period, from the time of Bach through to the early twentieth century. It is demonstrated that a technique of integrating modes into tonal music is not through the use of melodic or harmonic materials, but through modulation. Modulations can be drawn from and limited to those keys which derive from chords that exist in the modal scale of the final key of a composition. This leads to what can only be referred to as a kind of pseudo-diatonic chromaticism. Modulations are limited by a diatonic scale, but that scale is distinct from the major-minor scale system which characterizes the surface level musical activity of a composition. Hence the modulations are chromatic according to a given key, but individual keys visited are limited by a very traditional set of diatonic relationships among themselves. Abstract Foreword by Dr. Sergey Bogza Preface Chapter 1: Purpose and Scope of the Present Work Purpose Analytical Approach Definition Problems Addressed Outline of the Following Study Conclusion Chapter 2: Bach’s Method of Integrating Mode and Tonality through Modulation “Wenn ich einmal soll scheiden” Contract with Schenkerian Analysis Conclusion Chapter 3: Analysis of Debussy’s Syrinx: Impressionism, Expressionism and Tuning Introduction Importance of Syrinx in the Flute Repertoire Contradictory Analytical Approaches to Syrinx Background Debussy’s State of Mind When Composing Syrinx The Failed Tristan Project The Story of Syrinx Analysis Method The Opening The Central Episode Recapitulation Coda and Resolution The Key to Syrinx Pan = Tristan? Discussion Structure and Expression Tuning in Performance Impressionism or Expressionism? Conclusion Chapter 4: The Case foe the Authenticity of BWV 565 Introduction Discussion Analysis Part I: Key Structure of the Fugue Analysis Part II: Correspondences Between Various Organ Compositions of Bach Analysis Part III: Musical Action in BWV 565 I. Toccata II. Fugue III. Cadenza Musical Action of the Entire Composition Meaning and Metaphor in BWV 565 Chapter 5: Mahler’s Adagietto a Study of Seduction Part I. Gustav and Alma The Story Adagietto Part II. Death in Venice 1. A minor= Aschenbach 2. F major = The Attraction of an Object of Desire Conclusion Chapter 6: Beethoven’s Heilige Dankgesang Have you Met Lydian? Modal and Tonal Relationship and Associated Ethos Chapter 7: Bach and Mozart go Locrian Bach’s Locrian New Year Mozart’s Locrian and Pedrillo’s Failed Heroism Chapter 8: Schumann’s Dichterliebe: Flowers that Bloom in the Spring Chapter 9: Massenet’s Pseudo Phrygian Meditation Chapter 10: Brahm’s Concerto Against D Major Chapter 11: Some Summing Up Chapter 12: New Directions in Modal Ethos Introduction Structural Characteristics of Modes Twelve-Tone Serial Structures Trichords and Expression Mechanics of Twelve-Tone Rows Based on Trichords Conclusion Bibliography Index