Ornamentation in Atonal Music
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1 Ornamentation in Atonal Music Society for Music Theory Annual Meeting November 7, 2014 Michael Buchler Florida State University College of Music
2 neighbor tone appoggiatura Schoenberg, Six Small Piano Pieces, op. 19, no. 6, mm. 1-6 (not that I needed to tell you that!)
3 Schoenberg, Nacht from Pierrot Lunaire, mm
4 p p app Paul Moravec, Tempest Fantasy, mvt. 4: Sweet Airs Passing between G & E (mm. 3-5) C as appoggiatura to Bb (m. 6)
5 neighbor tones Henze, Three Auden Songs, #2 ( Rimbaud ), mm
6 neighbor tones Lutoslawski, Partita, mvt. I, mm. 1-9
7 Lutoslawski, Partita, mvt. I, mm (section 2) (lots and lots of three-note chromatic passing gestures)
8 Lutoslawski, Partita, mvt. I, mm (section 3) (some quarter-tone chromatic passing tones)
9 A¾s D¾s G C Ives, Three Quarter-Tone Pieces for two pianos, mvt. III, mm. 1-4
10 G¾s as N to A¾s dbl N about A¾s Ives, Three Quarter-Tone Pieces for two pianos, mvt. III, mm. 1-4 (renotated on one system using modern 24-tone notation) Neighboring and passing motion in the first two phrases (top voice)
11 dbl N about A¾s w/pts to the DN A¾s As dbl N about As (As -C-A¼s -As) Ives, Three Quarter-Tone Pieces for two pianos, mvt. III, mm (renotated on one system using modern 24-tone notation) Neighboring and passing motion... and also a scale-step progression from one phrase to the next.
12 neighbor tone appoggiatura [0,2,4,6] Schoenberg, Six Small Piano Pieces, op. 19, no. 6, mm. 1-6 (encore!)
13 Fukushima, Requiem for solo flute, beginning Two passing tones: F-Fs-G and B-Bb-A
14 I 1 D E B A IN? Fukushima, Requiem for solo flute, beginning Alternate reading: in three segments
15 escape tone appog. I 7 I 7 I 7 I 7 D F E Eb C G Bb A Fukushima, Requiem for solo flute, beginning Third reading (in four segments) in which pitch class is especially important.
16 Fukushima, Requiem for solo flute, beginning Two passing tones: F-Fs-G and B-Bb-A
17 D T T 3 2 F G T B -3 T -2 A Fukushima, Requiem for solo flute, beginning A (slightly) hidden symmetry about D5
18 Burstein s Example 8 (Mozart, K. 310) from SMT 2010.
19 6 Schubert, Piano Sonata in Bb Major, D.960, i, beginning
20 the beginning of a (very) long-range neighbor? Schubert, Piano Sonata in Bb Major, D.960, i
21 Stravinsky, Concerto for Two Pianos, mvt. 3 Example 7 (excerpt) from Straus, Joseph Harmony and Voice Leading in the Music of Stravinsky, Spectrum 36/1: 1-33.
22
23 [0134] [013478] [01348] [013478] (6-z19) [01458] Kaija Saariaho, Ariel s Hail (2000) For Soprano, Flute, and Harp Analytical Approaches: Pitch-class set classes [012568] (6-z44) [01478] [013478] [01458] [014579] [013458] (6-14)
24 Kaija Saariaho, Ariel s Hail (2000) For Soprano, Flute, and Harp Analytical Approaches: Pitch class set classes Semitones (appoggiaturas? escape tones?)
25 LT? Gm GM?/m? GM(7?) D aug (or DM?) Gm7 Gm Kaija Saariaho, Ariel s Hail (2000) For Soprano, Flute, and Harp Analytical Approaches: Pitch class set classes Appoggiaturas, escape tones highlighting elaborated triads? Dm AM Gm/Cm?
26 [0134] GM?/m? D aug (or DM) [013478] [012568] (6-z44) Gm7 [01348] Gm GM(7?) [013478] (6-z19) [01458] Gm Kaija Saariaho, Ariel s Hail (2000) For Soprano, Flute, and Harp Analytical Approaches: Pitch class set classes Appoggiaturas, escape tones highlighting elaborated triads? [01478] Dm [013478] [01458] AM [014579] Gm/Cm? [013458] (6-14)
27 Conclusions (finally and a bit abruptly)
28 1. Ornamentation need not entail longer prolongational structures. 2. Obsessive justification gets in the way of doing and conveying analysis. 3. These sorts of interpretive readings can help us foster the manner of critical dialog that tonal analysts enjoy. the end
29 Select bibliography Agawu, V. Kofi Stravinsky s Mass and Stravinsky Analysis. Spectrum 11/2: Babbitt, Milton Review of Structural Hearing by Felix Salzer. JAMS 5/3: Boss, Jack Schoenberg s Op. 22 Radio Talk and Developing Variation in Atonal Music. Spectrum 14/2: Boss, Jack Schoenberg on Ornamentation and Structural Levels. JMT 38/2: Buchler, Michael Are There Any Bad (or Good) Transformational Analyses? SMT meeting. Burstein, L. Poundie Half, Full, or In Between? Distinguishing Half and Authentic Cadences. SMT meeting. Burstein, L. Poundie The Half Cadence and Other Such Slippery Events. Spectrum 36/2: Hanninen, Dora A Theory of Music Analysis: On Segmentation and Associative Organization. Rochester: University of Rochester Press. Hasty, Christopher Segmentation and Process in Post-Tonal Music. Spectrum 3: Kahneman, Daniel Thinking, Fast and Slow. New York: Farrar, Straus and Giroux. Kielian-Gilbert, Marianne Interpreting Schenkerian Prolongation. Music Analysis 22/1-2: Larson, Steve The Problem of Prolongation in Tonal Music: Terminology, Perception, and Expressive Meaning. JMT 41/1: Lewin, David Musical Form and Transformation: 4 Analytic Essays. New Haven: Yale. Lefkowitz, David and Kristin Taavola Segmentation in Music: Generalizing a Piece-Sensitive Approach. JMT 44/1: Morrison, Charles D Prolongation in the Final Movement of Bartók s String Quartet No. 4. Spectrum 13/2: Pearsall, Edward R Trees and Schemas: A Cognitive Approach to Music Analysis, Ph.D. diss., University of Wisconsin Madison. Roeder, John A Transformational Space Structuring the Counterpoint in Adès s Auf dem Wasser zu singen. MTO 15/1. Tenney, James (orig. 1964, 1977) Meta+Hodos and META Meta+Hodos. Oakland, CA: Frog Peak Music. Tenney, James and Larry Polansky Temporal Gestalt Perception in Music. JMT 24/2: Salzer, Felix Structural Hearing. New York: Charles Boni. Saariaho, Kaija Timbre and Harmony: Interpolations of Timbral Structures, Contemporary Music Review, 2/1: Silberman, Peter Analyzing Tonal Embellishment in Post-Tonal Music in Musical Currents from the Left Coast, J. Boss and B. Quaglia, eds. Newcastle upon Tyne: Cambridge Scholar s Publishing Transformation and Enlargement in Barber s Four Songs, Op. 13. MTSE Meeting. Straus, Joseph N The Problem of Prolongation in Post-Tonal Music. JMT 31/1: Harmony and Voice-Leading in the Music of Stravinsky. Spectrum 36/1: Travis, Roy Towards a New Concept of Tonality? JMT 3/2: Directed Motion in Schoenberg and Webern PNM 4/2: Vaïsälä, Olli. Concepts of Harmony and Prolongation in Schoenberg s Op. 19/2. Spectrum 21/2: Prolongation of Harmonies Related to the Harmonic Series in Early Post-Tonal Music. JMT 46/1-2: Watkins, Holly Schoenberg s Interior Designs. JAMS 61/1:
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