Joint AMS/SMT Annual Meeting Vancouver, British Columbia November 6, 2016

Transcription

1 Joint AMS/SMT Annual Meeting Vancouver, British Columbia November 6, 2016 Plagal Systems in the Songs of Fauré and Duparc Andrew Pau, Oberlin Conservatory of Music EXAMPLES EXAMPLE 1. Wagner, Tristan und Isolde (premiered 1865), Prelude to Act III, mm. 1 2 (cf. Aldwell, Schachter, and Cadwallader 2011, 461; Cohn 2012, 144) FIGURE 1. Dualistic generation of dominant seventh and subdominant added-sixth chords (d Indy 1912, 112), along with characteristic voice-leading patterns EXAMPLE 2. Fauré, Tristesse, Op. 6/2 (1873), mm. 1 4

2 EXAMPLE 3. Fauré, Le ramier, Op. 87/2 (1904), mm. 3 6 EXAMPLE 4. Duparc, L invitation au voyage (1870), mm FIGURE 2. Dualistic cadences with modal mixture (d Indy 1912, 111) 2

3 FIGURE 3. Dualistic derivations of the French augmented-sixth chord (1(a) and 1(b) adapted from Reber 1862, 102) FIGURE 4. Duparc, L invitation au voyage, rhythmic reduction of mm (half note = one measure) EXAMPLE 5. Duparc, L invitation au voyage, mm

4 FIGURE 5. Derivation of the progression shown in Ex. 5 ( Là, tout n est qu ordre et beauté, / Luxe, calme et volupté. ) EXAMPLE 6. Duparc, L invitation au voyage, mm ( It is to gratify/your every desire/that they [boats] have come from the ends of the earth. ) FIGURE 6. Duparc, L invitation au voyage, mm : Rhythmic reduction of piano arpeggiations (dotted half note = one measure) 4

5 EXAMPLE 7. Duparc, Au pays où se fait la guerre (ca. 1870), mm EXAMPLE 8. Fauré, Dans la forêt de Septembre, Op. 85/1 (1902), mm

6 EXAMPLE 9. Fauré, Dans la forêt de Septembre, mm FIGURE 7. Hypothetical derivation of the progression circled in Ex. 9 EXAMPLE 10. Duparc, Lamento (1883), mm

7 FIGURE 8. Fauré, Le ramier, key areas and cadences EXAMPLE 11. Fauré, Vaisseaux, nous vous aurons aimés, No. 4 from L horizon chimérique, Op. 118 (1921), mm

8 SELECTED REFERENCES Aldwell, Edward, Carl Schachter, and Allen Cadwallader Harmony and Voice Leading. 4th ed. Boston: Schirmer. Bergeron, Katherine Voice Lessons: French Mélodie in the Belle Epoque. Oxford: Oxford University Press. Caballero, Carlo Fauré and French Musical Aesthetics. Cambridge: Cambridge University Press. Christensen, Thomas Rameau and Musical Thought in the Enlightenment. Cambridge: Cambridge University Press. Cohn, Richard Audacious Euphony: Chromaticism and the Triad s Second Nature. Oxford: Oxford University Press. Harrison, Daniel Harmonic Function in Chromatic Music: A Renewed Dualist Theory and an Account of Its Precedents. Chicago: University of Chicago Press Supplement to the Theory of Augmented-Sixth Chords. Music Theory Spectrum 17/2: Hatten, Robert S Musical Meaning in Beethoven: Markedness, Correlation, and Interpretation. Bloomington: Indiana University Press. Indy, Vincent d Cours de composition musicale. Vol. 1. Paris: Durand. Jankélévitch, Vladimir [1961]. Music and the Ineffable. Translated by Carolyn Abbate. Princeton: Princeton University Press. Kieffer, Alexandra Riemann in France: Jean Marnold and the Modern Music-Theoretical Ear. Music Theory Spectrum 38/1: Klumpenhouwer, Henry Harmonic Dualism as Historical and Structural Imperative. In The Oxford Handbook of Neo-Riemannian Music Theories, ed. Edward Gollin and Alexander Rehding. Oxford: Oxford University Press. Northcote, Sydney The Songs of Henri Duparc. London: Dennis Dobson. Notley, Margaret Plagal Harmony as Other: Asymmetrical Dualism and Instrumental Music by Brahms. Journal of Musicology 22/1: Phillips, Edward R Smoke, Mirrors and Prisms: Tonal Contradiction in Fauré. Music Analysis 12/1: Platt, Heather Unrequited Love and Unrealized Dominants. Intégral 7: Rameau, Jean-Philippe [1722]. Treatise on Harmony. Translated by Philip Gossett. New York: Dover. Reber, Henri Traité d harmonie. Paris: Colombier. Rumph, Stephen Fauré and the Effable: Theatricality, Reflection, and Semiosis in the mélodies. Journal of the American Musicological Society 68/3: Stein, Deborah The Expansion of the Subdominant in the Late Nineteenth Century. Journal of Music Theory 27/2: Swinden, Kevin When Functions Collide: Aspects of Plural Function in Chromatic Music. Music Theory Spectrum 27/2: Tait, Robin The Musical Language of Gabriel Fauré. New York: Garland. Tymoczko, Dmitry Dualism and the Beholder s Eye: Inversional Symmetry in Chromatic Tonal Music. In The Oxford Handbook of Neo-Riemannian Music Theories, ed. Edward Gollin and Alexander Rehding, Oxford: Oxford University Press. 8