Abstract:The A~-C-E major-third constellation stands as a prototype for nineteenth-century composers' expressive and structural uses of chromatic major-third relations. After tracing the origins of the collection, this article presents a conglomeration of hierarchic and transformational analytic approaches to A~-C-E music by central European composers to demonstrate that recognition of the complex comprises a valuable added dimension to our structural i and phenomenological hearings of romantic-era music.
“…Accounting for the sum of these parts, however, requires us to ramify both theoretical contexts . One path towards such an account is suggested by the notion of the double‐tonic complex proposed by Robert Bailey for Tristan () and developed further by Christopher Lewis (, and ), Deborah Stein (), Matthew Bribitzer‐Stull ( and ) and Matthew BaileyShea (). As Bailey explains: The new feature of Tristan is the pairing together of two tonalities a minor third apart in such a way as to form a ‘double‐tonic complex’.…”
Section: Form ‘Orbital’ Tonality and Harmonic Discontinuitymentioning
This article investigates questions of form in the Finale of Bruckner's Seventh Symphony, paying special attention to the reversed recapitulation as a problematic category in contemporary Formenlehre. Counterpointing Timothy Jackson's reading of the movement as a ‘tragic’ reversed sonata against James Hepokoski and Warren Darcy's critique of the concept of reversal, it seeks ways of accounting for the movement's novel form‐functional characteristics, which integrate concepts of thematic syntax with a model of chromatic tonality, drawing simultaneously on Schenkerian and neo‐Riemannian theories and the notion of the double‐tonic complex first proposed by Robert Bailey. The argument is contextualised in relation to critical debates about Bruckner's forms that originated during the composer's lifetime, especially claims of material discontinuity and harmonic illogicality, which were common in the symphonies’ pro‐Brahmsian reception and which linger in the discourse up to the present. The article's central claim is that a substantial understanding of both the Finale's form and its critical reception is attendant upon a theory of formal function, which takes seriously the difficulties of harmonic analysis that Bruckner's post‐Wagnerian idiom engenders.
“…Accounting for the sum of these parts, however, requires us to ramify both theoretical contexts . One path towards such an account is suggested by the notion of the double‐tonic complex proposed by Robert Bailey for Tristan () and developed further by Christopher Lewis (, and ), Deborah Stein (), Matthew Bribitzer‐Stull ( and ) and Matthew BaileyShea (). As Bailey explains: The new feature of Tristan is the pairing together of two tonalities a minor third apart in such a way as to form a ‘double‐tonic complex’.…”
Section: Form ‘Orbital’ Tonality and Harmonic Discontinuitymentioning
This article investigates questions of form in the Finale of Bruckner's Seventh Symphony, paying special attention to the reversed recapitulation as a problematic category in contemporary Formenlehre. Counterpointing Timothy Jackson's reading of the movement as a ‘tragic’ reversed sonata against James Hepokoski and Warren Darcy's critique of the concept of reversal, it seeks ways of accounting for the movement's novel form‐functional characteristics, which integrate concepts of thematic syntax with a model of chromatic tonality, drawing simultaneously on Schenkerian and neo‐Riemannian theories and the notion of the double‐tonic complex first proposed by Robert Bailey. The argument is contextualised in relation to critical debates about Bruckner's forms that originated during the composer's lifetime, especially claims of material discontinuity and harmonic illogicality, which were common in the symphonies’ pro‐Brahmsian reception and which linger in the discourse up to the present. The article's central claim is that a substantial understanding of both the Finale's form and its critical reception is attendant upon a theory of formal function, which takes seriously the difficulties of harmonic analysis that Bruckner's post‐Wagnerian idiom engenders.
“…Nos 12 primeiros versos de Pivete, canção de Francis Hime e Chico Buarque lançada em 1978, ouvimos mais um daqueles casos em que a mediante toma parte do mencionado "complexo A♭-C-E" (BRIBITZER-STULL, 2006) 61 . Situando as ações do personagem -em "No sinal fechado / Ele vende chiclete / Capricha na flanela / E se chama Pelé / Pinta na janela / Batalha algum trocado" -num estado de tensão latente, com nota pedal na dominante e suspensão da nota sensível, a harmonia parece estática, repetindo uma espécie de articulação cadencial primária: V7 sus4 para I, no tom principal (Dó maior).…”
Section: Colorações De Mediante Em Canções De Chico Buarque E Seus Paunclassified
“…Matthew Bribitzer‐Stull, examining ‘The A♭–C–E Complex’, recalls the famous anecdote about C.P.E Bach: ‘[w]hen asked “Who but yourself would dare go directly from C major to E major?” C.P.E. Bach replied, “Anyone can and will assuredly do it who knows that E is the dominant of A, and that A minor is very closely related to C major” ’ (Bribitzer‐Stull , p. 167). Ahead of time Bach pinpoints one of the tensions between neo‐Riemannian transformation theory (where C major moves to E major because it transforms smoothly) and Funktionstheorie (where E major is a replacement for the dominant G major).…”
Section: The Tonal Universe and The Hunt For The Harmonic Higgs Bosonmentioning
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