Ornamentation in Atonal Music Society for Music Theory Annual Meeting November 7, 2014 Michael Buchler Florida State University College of Music mbuchler@fsu.edu
neighbor tone appoggiatura Schoenberg, Six Small Piano Pieces, op. 19, no. 6, mm. 1-6 (not that I needed to tell you that!)
Schoenberg, Nacht from Pierrot Lunaire, mm. 10-11
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)
neighbor tones Henze, Three Auden Songs, #2 ( Rimbaud ), mm. 13-15
neighbor tones Lutoslawski, Partita, mvt. I, mm. 1-9
Lutoslawski, Partita, mvt. I, mm. 19-27 (section 2) (lots and lots of three-note chromatic passing gestures)
Lutoslawski, Partita, mvt. I, mm. 33-36 (section 3) (some quarter-tone chromatic passing tones)
A¾s D¾s G C Ives, Three Quarter-Tone Pieces for two pianos, mvt. III, mm. 1-4
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)
dbl N about A¾s w/pts to the DN A¾s As dbl N about As (As -C-A¼s -As) 27 30 Ives, Three Quarter-Tone Pieces for two pianos, mvt. III, mm. 27.4 31 (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.
neighbor tone appoggiatura [0,2,4,6] Schoenberg, Six Small Piano Pieces, op. 19, no. 6, mm. 1-6 (encore!)
Fukushima, Requiem for solo flute, beginning Two passing tones: F-Fs-G and B-Bb-A
I 1 D E B A IN? Fukushima, Requiem for solo flute, beginning Alternate reading: in three segments
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.
Fukushima, Requiem for solo flute, beginning Two passing tones: F-Fs-G and B-Bb-A
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
Burstein s Example 8 (Mozart, K. 310) from SMT 2010.
6 Schubert, Piano Sonata in Bb Major, D.960, i, beginning
42 46 50 the beginning of a (very) long-range neighbor? Schubert, Piano Sonata in Bb Major, D.960, i
Stravinsky, Concerto for Two Pianos, mvt. 3 Example 7 (excerpt) from Straus, Joseph. 2014. Harmony and Voice Leading in the Music of Stravinsky, Spectrum 36/1: 1-33.
[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)
Kaija Saariaho, Ariel s Hail (2000) For Soprano, Flute, and Harp Analytical Approaches: Pitch class set classes Semitones (appoggiaturas? escape tones?)
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?
[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)
Conclusions (finally and a bit abruptly)
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
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