Schoenberg’s Sentence

Heneghan, Áine

doi:10.1093/mts/mty014

Cited by 5 publications

(2 citation statements)

References 7 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…While Caplin excludes theorists such as A. B. Marx when crafting his own theory (1998,5), subsequent scholars such as Áine Heneghan (2018) trace certain form-functional categories to the nineteenth century. Moreover, although Schenker and Schenkerian theory are not without their problems (many of which are discussed in Ewell 2020), we invoke Schenker here because his theories, as well as those of Marx, were developed with respect to the same repertoire that Caplin uses.…”

Section: Kyle Hutchinsonmentioning

confidence: 99%

Cadential Melodies

Hutchinson

Poon

2022

MTO

View full text Add to dashboard Cite

This article proposes that engaging with structural melodic content can expand how we conceive of cadential function and add nuance to the more harmonically driven approaches of Caplinian form-functional theory. Drawing on discussions by Schenker, Marx, and Schoenberg, we posit parallels between structural melodic configurations and the temporal formal functions of Caplinian theory. Through several analytic examples we suggest that certain melodic directions have default association with Caplin’s temporal functions: ascending lines are typically associated with initiating functions, while the static prolongation of structural tones typically serves as either initiating or medial functions. Conversely, descending melodic lines, especially terminating on ".fn_scaledegree(1)." (authentic cadences) or ".fn_scaledegree(2)." (half cadences) are endemic of concluding functions. We do not suggest that melodic considerations replace harmonic ones, but rather conclude that the two domains are symbiotic in the sense that melodic consideration can reinforce or undermine harmonic ones, and vice versa. Ultimately, we use this rebalancing of analytic focus as a means of reengaging with various problematic phrase types and suggest further efficacy for this approach with respect to nineteenth-century formal expansions.

show abstract

Section: Kyle Hutchinsonmentioning

confidence: 99%

Cadential Melodies

Hutchinson

Poon

2022

MTO

View full text Add to dashboard Cite

show abstract

“…11 are themselves diverse. For more on the role of thematicism and motivic analysis in Schoenberg's atonal music, seeHeneghan (2018), and Boss (2019). In my view, many of the strongest analyses of the repertory are pluralistic and refer to motives and themes, conventional and unconventional formal organizations, non-tonal pitch organization and tonal allusion, etc.…”

mentioning

confidence: 99%

Chromatic Function in Schoenberg’s Little Piano Piece, op. 19, no. 1

Hier

2023

MTO

View full text Add to dashboard Cite

The revival of Formenlehre studies has initiated a renewed interest in formal functions in atonal music. Schoenberg, who pioneered the study of formal functions, did not extensively analyze his atonal music from a formal point of view. Recent scholars, however, have drawn parallels between the formal construction of his atonal music and common-practice tonal music. One impediment to such analysis is the lack of a theory of counterpoint and harmony upon which formal-functional analysis rests. I propose a normative contrapuntal-harmonic structure for Schoenberg’s atonal music I call the “chromatic cadence.” I trace its origins to voice-leading techniques used by Schoenberg in his earlier tonal music and develop fundamental principles that guide the analysis and identification of the cadence in his atonal music. I conclude with a detailed analysis of Schoenberg’s piano piece, op. 19, no. 1, in which I examine the interrelationship of its motivic construction, contrapuntal-harmonic structure, and its formal functions.

show abstract

Cadence as Gesture in the Writings and Music of Arnold Schoenberg

Eason¹

2022

Music Analysis

View full text Add to dashboard Cite

This article focuses on the writings and music of Arnold Schoenberg to establish concrete techniques for form‐functional analysis, particularly cadential function. In both Fundamentals of Musical Composition and ‘Problems of Tonality’, Schoenberg discusses how form can be communicated to an audience in music with and without tonal functions. I use the already established field of energetics and Robert Hatten's theory of gesture (2004) to describe the musical effect of a number of compositional techniques employed in the service of cadence. This leads me to define rhetorical and syntactical markers for cadential function in Schoenberg's music. I demonstrate this with tonal excerpts from Verklärte Nacht, Op. 4, where harmonic function supports and coincides with these rhetorical and syntactical functions. This same technique is then examined in the Musette and Minuet from Schoenberg's Suite for Piano, Op. 25, where the twelve‐note structure is less useful for hearing formal boundaries. Although this study focuses on Schoenberg's music, it also suggests that there is more in common between what might be termed ‘Romantic’ formal functions and early non‐tonal formal functions.

show abstract

Schoenberg’s Sentence

Cited by 5 publications

References 7 publications

Cadential Melodies

Cadential Melodies

Chromatic Function in Schoenberg’s Little Piano Piece, op. 19, no. 1

Cadence as Gesture in the Writings and Music of Arnold Schoenberg

Contact Info

Product

Resources

About