Structural Functions in Music (Dover Books on Music, Music History)

A brilliant investigation into musical structure and experience through a systematic exploration of tonality, melody, harmony, texture and rhythm, and their important interpretations. These are illuminated in penetrating analyses of musical works ranging from early madrigals and Gregorian chants through Bach, Beethoven and Brahms to Ravel, Bart?k and Berg. Index. Prefaces. Introduction. Title......Page 1 Copyright......Page 2 Dedication......Page 3 Contents......Page 5 Preface to the dover edition......Page 9 Preface to the first edition......Page 11 Structural functions in music......Page 13 Introduction......Page 15 Introductory notes......Page 41 Introductory comments concerning tonal and linear functions......Page 43 The concept of multileveled function further explored......Page 51 The ideas of primacy and hierarchy among pitch-classes and pitch-class-complexes: generic and particular tonal systems......Page 54 Tonal systems of compositions: regions and interrelations......Page 55 The concept of a generic tonal system explored in theory......Page 61 Primary and secondary tonics and their structural and auxiliary functions: multileveled (multiple) tonal-harmonic functions: tonic and dominant forms......Page 66 Essential and auxiliary linear functions of pitches and pitch-complexes, their hierarchic basis often determined by tonal and cadential factors......Page 75 Tonal order as an inflation of harmonic order and sucession......Page 81 Tonal Fluctuation and techniques of immediate succession by which it is effected......Page 83 Tonal organization as a pattern of relative stability opposed to relative flux......Page 89 Tonal rhythm......Page 92 The questions of tonal intersection, direction, and distance; intervals of fluctuation; high-level chromatic successions and nondiatonic tonics; the interchangeability of modes and the "equivalence" of parallel tonics......Page 93 Concepts of tonal progression and tonal recession......Page 98 Concepts of harmonic and melodic progression and recession; complementarities and counteractions of element-successions......Page 100 Some exemples of quasi-tonal order in melodic and composite functions......Page 101 Melodic curve......Page 108 Some further observations concerning melodic analysis......Page 114 Some particular issues of harmonic analysis in later styles......Page 117 Procedures of analysis; symbolic representations of melodic and harmonic functions and affiliations......Page 126 Gregorian chant, Veni creator spiritus......Page 134 Two Preludes from Fischer, Ariadne Musica......Page 139 Bach, "Drauf schliess ich mich in deine Hände" from Motet, Komm, Jesu, komm......Page 141 Beethoven, Symphony No. 2 in D, Op. 38, fourth movement. Representations of the tonal system and tonal rhythm......Page 148 Wolf, "Das verlassene Mägdlein" from Gedichte von Mörike......Page 152 Ravel, "Le Martin-Pêcheur" form Histoires Naturelles......Page 156 Bartók, String Quartet No. 2, Op. 17, third movement......Page 161 Webern, Four Pieces, Op. 7, for violin and piano, No. 1......Page 176 Berg, Four Pieces, Op. 5, for clarinet and piano, No. 4......Page 180 Summary notes on the universality and significance of the principle of hierarchic tonal order......Page 183 Concluding notes......Page 193 NOTES......Page 194 Introductory notes......Page 198 Textural progression, recession, and variation as structural factors......Page 200 Types of musical texture; problems of classification and terminology......Page 205 Some further considerations of terminology and aspects of texture......Page 209 Texture and style......Page 214 Textural rhythm......Page 215 Qualitative and quantitative values......Page 218 Density and dissonance......Page 223 Interlinear independece and interdependence......Page 227 Imitation, a universal feature of many polyphonic styles; multiple counterpoint......Page 230 The activation of simple textures......Page 236 The complementary and compensatory dispositions or texture in relation to other element-structures......Page 246 Some textural functions in delineation of form......Page 250 Textural processes in progression toward intensity, in recession toward cadence, and in anticipation of thematic statement......Page 255 Texture as space......Page 262 Motivic texture; the provocative effect of unusual textures......Page 268 Level of analysis and of hierarchy in the textural structure......Page 269 Telemann, Fantasy No. 4 for violin alone, first movement......Page 271 Bach, "Denn das Gesetz des Geistes," from Motet, Jesu, meine Freude......Page 278 Brahms, Symphony No. 1 in C minor, Op. 68, first movement (Un poco sostenuto): introduction......Page 280 Dallapiccola, Goethe-Lieder for soprano and three clarinets (No. 1, "Im tausend Formen")......Page 294 Serialism and texture; texture as a product of chance operations......Page 302 Concluding notes......Page 307 NOTES......Page 309 Introductory notes......Page 315 Fundamental concepts of rhythm......Page 319 Rhythm as activity and motion......Page 320 Rhythmic pattern as motivic......Page 324 The rhythms of element-successions......Page 327 A theoretical approach to the consideration of meter as accent-delineated grouping......Page 331 The concept of meter as, by definition, subject to fluctuation......Page 332 Meter as one manifestation of grouping in music......Page 333 Meter as opposed to the notated bar-line......Page 338 Impulses and their functional differentiations......Page 340 Functions of the cadential (conclusive) impulse......Page 343 Criteria of accentuation......Page 349 Further comment concerning diverse impulse functions......Page 359 Levels of metric structure and analysis......Page 363 Metric irregularity: horizontal and vertical noncongruity......Page 376 The problem of preconditioning metric structure and syncopation......Page 386 Stability and flux, metric progression and recession; compensatory and complementary functions in relation to other element-structures......Page 391 Beethoven, Symphony No. 8 in F, Op. 93, first movement......Page 403 Chopin, Prelude in E, Op. 28, No. 9......Page 408 Webern: Three Pieces, Op. 11, for cello and piano, No. 3; Five Pieces, Op. 5, for string quartet, fourth movement......Page 411 Some twentieth-century problems in rhythm and meter; recent developments in serialism of durational units - theory and pratice......Page 422 Concluding notes......Page 431 NOTES......Page 433 Appendix one - Editorial notes......Page 439 Appendix two - Translations......Page 441 Indexes......Page 445 Index of musical examples and citations......Page 447 Index of subjects, names, and terms......Page 451 This brilliant inquiry into tonal, textural, and rhythmic structures in music, filled with original formulations and provocative ideas, has become one of the most widely read and studied works in music theory, frequently adopted in college and university curricula, and often cited in scholarly studies in the field. Starting from an all-encompassing viewpoint a belief in the importance and necessity of logical analysis of the musical experience, and the study of objective data derived therefrom it moves toward a deeper understanding of musical structure and experience through a systematic exploration of tonality, melody, harmony, and rhythm, and their important interrelations. These are illuminated in penetrating analyses of musical works and extracts ranging from early model styles to modern compositions. The procedures by which structural elements in nearly all music function expressively are analyzed in depth. Tonality is examined in a Gregorian chant, a Bach motet, a Beethoven symphony, a Bartk string quartet, and other works by Wolf, Ravel, Webern, and Berg. Texture is explored in a Gesualdo madrigal, a Telemann fantasy for violin, and works by Bach, Brahms, and Dallapiccola. Works by Beethoven, Chopin, and Webern are subjects for revealing studies of rhythm and meter. A model of original thought, this book has now become one of the most influential works in musical analysis, an invaluable resource for musical scholars and students of musical theory, a lively stimulus to individual theoretical exploration. Starting from an all-encompassing viewpoint--a belief in the importance and necessity of logical analysis of the musical experience, and the study of objective data derived therefrom---it moves toward a deeper understanding of musical structure and experience through a systematic exploration of tonality, melody, harmony, texture and rhythm, and their important interrelations. These are illuminated in penetrating analyses of musical works and extracts ranging from early modal styles to modern compositions. The procedures by which structural elements in nearly all music function expressively are analyzed in depth. Tonality is examined in a Gregorian chant, a Bach motet, a Beethoven symphony, a Bartók string quartet and other works by Wolf, Ravel, Webern and Berg. Texture is explored in a Gesualdo madrigal, a Telemann fantasy for violin, and works by Bach, Brahms and Dallapiccola. Works by Beethoven, Chopin and Webern are subjects for revealing studies of rhythm and meter

A brilliant investigation into musical structure and experience through a systematic exploration of tonality, melody, harmony, texture and rhythm, and their important interpretations. These are illuminated in penetrating analyses of musical works ranging from early madrigals and Gregorian chants through Bach, Beethoven and Brahms to Ravel, Bartk and Berg.