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 Andrew.Pau@oberlin.edu 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
EXAMPLE 3. Fauré, Le ramier, Op. 87/2 (1904), mm. 3 6 EXAMPLE 4. Duparc, L invitation au voyage (1870), mm. 1 10 FIGURE 2. Dualistic cadences with modal mixture (d Indy 1912, 111) 2
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. 11 31 (half note = one measure) EXAMPLE 5. Duparc, L invitation au voyage, mm. 32 35 3
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. 50 57 ( 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. 62 71: Rhythmic reduction of piano arpeggiations (dotted half note = one measure) 4
EXAMPLE 7. Duparc, Au pays où se fait la guerre (ca. 1870), mm. 6 10 EXAMPLE 8. Fauré, Dans la forêt de Septembre, Op. 85/1 (1902), mm. 3 10 5
EXAMPLE 9. Fauré, Dans la forêt de Septembre, mm. 46 54 FIGURE 7. Hypothetical derivation of the progression circled in Ex. 9 EXAMPLE 10. Duparc, Lamento (1883), mm. 1 3 6
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. 2 10 7
SELECTED REFERENCES Aldwell, Edward, Carl Schachter, and Allen Cadwallader. 2011. Harmony and Voice Leading. 4th ed. Boston: Schirmer. Bergeron, Katherine. 2010. Voice Lessons: French Mélodie in the Belle Epoque. Oxford: Oxford University Press. Caballero, Carlo. 2001. Fauré and French Musical Aesthetics. Cambridge: Cambridge University Press. Christensen, Thomas. 1993. Rameau and Musical Thought in the Enlightenment. Cambridge: Cambridge University Press. Cohn, Richard. 2012. Audacious Euphony: Chromaticism and the Triad s Second Nature. Oxford: Oxford University Press. Harrison, Daniel. 1994. Harmonic Function in Chromatic Music: A Renewed Dualist Theory and an Account of Its Precedents. Chicago: University of Chicago Press.. 1995. Supplement to the Theory of Augmented-Sixth Chords. Music Theory Spectrum 17/2: 170 195. Hatten, Robert S. 1994. Musical Meaning in Beethoven: Markedness, Correlation, and Interpretation. Bloomington: Indiana University Press. Indy, Vincent d. 1912. Cours de composition musicale. Vol. 1. Paris: Durand. Jankélévitch, Vladimir. 2003 [1961]. Music and the Ineffable. Translated by Carolyn Abbate. Princeton: Princeton University Press. Kieffer, Alexandra. 2016. Riemann in France: Jean Marnold and the Modern Music-Theoretical Ear. Music Theory Spectrum 38/1: 1 15. Klumpenhouwer, Henry. 2011. 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. 1949. The Songs of Henri Duparc. London: Dennis Dobson. Notley, Margaret. 2005. Plagal Harmony as Other: Asymmetrical Dualism and Instrumental Music by Brahms. Journal of Musicology 22/1: 90 130. Phillips, Edward R. 1993. Smoke, Mirrors and Prisms: Tonal Contradiction in Fauré. Music Analysis 12/1: 3 24. Platt, Heather. 1993. Unrequited Love and Unrealized Dominants. Intégral 7: 119 148. Rameau, Jean-Philippe. 1971 [1722]. Treatise on Harmony. Translated by Philip Gossett. New York: Dover. Reber, Henri. 1862. Traité d harmonie. Paris: Colombier. Rumph, Stephen. 2015. Fauré and the Effable: Theatricality, Reflection, and Semiosis in the mélodies. Journal of the American Musicological Society 68/3: 497 558. Stein, Deborah. 1983. The Expansion of the Subdominant in the Late Nineteenth Century. Journal of Music Theory 27/2: 153 180. Swinden, Kevin. 2005. When Functions Collide: Aspects of Plural Function in Chromatic Music. Music Theory Spectrum 27/2: 249-282. Tait, Robin. 1989. The Musical Language of Gabriel Fauré. New York: Garland. Tymoczko, Dmitry. 2011. 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, 246 267. Oxford: Oxford University Press. 8