MASTER SET

Nichelmann

"Die Melodie" (1755) Hails from Bach circle in Leipzig Doesn't like galant or empfindsamerstil, causing rift with CPE Fundamental bass analyses, uses interpolation to explain motion by step Doesn't explain fundamental bass principles - Rameau is just in the air ... Major influence on Kirnberger (also from the Bach circle)

Robert Morgan

"Dissonant Prolongation" (JMT 1976) Takes Schenker's graph of Stravinksy's piano concerto as guide, argues for the ability to prolong dissonant chords (see Bach C Major prelude). Taking the dominant 7th as a starting example, Morgan then argues for prolongation of other dissonant sonorities that define entire formal sections and don't feel unstable. See "Faust Symphony" of Liszt, the opening of which prolongs an augmented triad

Prosody

"The acoustic changes in frequency, amplitude, and duration that form grouping, prominence, and intonation - rule governed and distinct from other structural levels of linguistic analysis"

Padre Martini

(1706 - 1784) Storia della musica Esemplare ... Annotated scores from 1500s and 1600s, excavating stile antico contrapuntal foundations Latent harmonic perspective - writes out fundamental bass, pieces should start and end with "perfect harmony," parrots double emploi

August Halm

(1869 - 1929) Seeks to turn focus from composer details back toward the musical forces inherent in music itself. These are actual forces - not metaphors. Form is a dynamic process (like for Schenker). Analyzes Bach C Major (WTC), Waldstein, etc. Seeking to stem cultural erosion in early 20th century

Evolution of triad in thoroughbass thinking

1600s - triad is fundamental chord 1700s - greater awareness of key = 5/3 is NOT the best chord for every scale step :). (Contrary to Schenkerians' view, thoroughbass and ctpt are wary of each other in the 1700s)

Johann Adolf Scheibe

1708 - 1766 Applies rhetorical terms about melodic form (from Mattheson) to larger instrumental pieces, like overtures

Marpurg-Kirnberger Debates

1759 - harmonic implication of Kirnberger's fugue (vis-a-vis invertible ctpt) 1770s Marpurg: chord structure, not progression, should determine roots. He rejects FB interpolation - fundamental bass should be in the music. vi IV V I - Kirnberger explains IV as ii7 (7th chord) Marpurg challenges essential/nonessential distinction. For him, incidental = off-beat melodic dissonance, and essential = all suspensions (because they're included in figures - hence the need for subposition)

S/Z

1970: Barthes reads de Balzac's Sarrasine in terms of five semiotic codes. First three are a-temporal, last two are temporal Semic - features of characters Symbolic - extrapolate for symbolic meanings (from oppositions: structuralism) Referential - cultural background [features of writerly texts (Proust)] Proairetic - what drives the story forward? Hermeneutic - how are mysteries set up, resolved? [vapid features of readerly texts] McCreless connects the last 2 to a Schenkerian reading of Beethoven's Ghost Trio (I) - what happens to the F natural?

James Baker

1983 Argues that Travis and Morgan can't show how dissonant sonorities are obtained, and that Morgan's dissonant prolongations reduce to triads at deeper levels. Baker argues instead that non-tonal pieces should be compared to tonal paradigms to see how they work; set theory can be used for dissonant chords Analyzes Scriabin's "Enigme"

Samorotto's contributions re: Schenker

1999 dissertation - shadow meter "The main meter (as written) casts a shadow of a subsidiary, displaced meter, which we are drawn to hear until it dissolves" MTO (2009) - explores melodic gestures in pieces (Kurth) that seem to take on directionality and goal-orientedness contrary to the pulls of tonal structure

Schenkerian approaches to form

2-part: division of the Urlinie 3-part ("song form"): arpeggiation (I-V-I in the bass), neighbor, mixture of the kopfton 3-part form arises from division when V is expanded, 2 is amplified over V, 7th is secured that cancels out #4, etc. Sonata form - prolongation of a division (Smith argues there's no distinction between sonata form and 3-part form; Schenker relies on traditional outer form types to gauge voice leading possibilities) Rondo form: smash together two three-part forms

Koch on harmony

2-voice counterpoint represents a 4-voice structure Chord classification emphasizes role within key: I IV V - essential (wesentlich) ii iii vi - incidental (zufällig) No discussion of fundamental bass driving harmonic progression - he thinks like a thoroughbass person (like Marpurg). He's interested in a phrase as a complete harmonic motion, and where chords fit within that progression. (Early understanding of formal function.) Mid-phrase dominants aren't conclusive (which was a problem for Rameau). Cadences aren't primarily harmonic phenomena, but rather formal punctuation

Highlights for Sorge

5 types of triads: major, minor, diminished, augmented, defective (so triad is not only a source of consonant harmony - defective can be inverted to create augmented 6ths) Three chord categories: basic, inversions, and mixed Changing speculative bases for harmony - string division, partials of the natural horn Debate with Mattheson in the 1750s, over (among other things) his liberal use of 6/4s

Tonnetz history

= "Table of tonal relations"; graphs whose nodes are pitch classes and edges represent consonance intervals Weber - nodes are chords/diatonic tonal spaces Oettingen - nodes are notes, triangles are chords Ottokar Hotinsky (Cohn says Riemann takes Oettingen's version; looks similar to Hotinsky's as well) Hyer - equal temperament (creating a hypertorus) Irony that 19th-century theorists loved the tonnetz but hated equal temperament, or vice-versa

Umberto Eco

A Theory of Semiotics (1976) Distances himself from Jakobson's structuralism; he excavates cultural codes that shape communication Nattiez differentiates himself, thinks of him as a structuralist nonetheless because he thinks cultural codes can be mapped in their entirety as reified entities, and thus meanings can be fixed

Plagal leading tone

A stylistic Debussyian fingerprint (melodic 6-1 over IV - I) - see Koslovsky and Brown on Debussy

John Trydell

Adumbrates RNs by using "harmonical figures" to indicate whether melodic notes participate in I, IV, or V chord

Secondary energeticists

Arnold Schering - music is about tension and release, listener's empathy with these qualities that originate in the psychic life of the composer Hans Mersmann - attempts a phenomenology of music, seeking to identify sources of tension and release in music; graphing tension and release in Haydn Eb Major sonata as stemming from motivic interplay Kurt Westphal - form is about process curves (Verlaufskurve); energetic contours of individual sections recontextualized by broader curves. (Similarity to Kurth's force-waves)

Hasty's analytic symbols

Arrows used for projection Vertical lines for beginning Backslash (/) for continuation of a projection Foreslash (\) for anacrusis 3/4 arises from deferral of a projected potential (dominant beginning; cf. Hauptmann's conception of 3/4)

Diana Deutsch on speech/song

Believes there's a fuzzy boundary - she believes our ancestors didn't have a boundary between the two, and that the boundary is just an evolutionary relic.

Schenker's view of CPE and Fux (from Counterpoint)

Both eschew scale steps in their presentation - primarily demonstrations of voice leading Fux is based in vocal tradition, shuts the door on instrumental composition. Fugue should not be the summit of compositional study! CPE is too advanced - shows prolongations of archetypes and principles of accompaniment without first showing basic principles

Mattheson's use of rhetoric

Breaks melodies into phrases and subphrases (as you would a paragraph) Composing involves dispositio, elaboratio, decoratio Portions of a completed composition: exordium, narratio, propositio, confirmatio, confutatio, peroratio

Adele Katz

Challenge to the Musical Tradition (1945) - along with Salzer, responsible for transmitting Schenker's ideas to North America and the English-speaking world in the 1940s and 50s

Rule of Congruence

from Rothstein (1989) When possible, metrically strong beats should coincide with phrase beginnings (i.e. beginning-accented phrases are most common)

Contrapuntal-structural chords

from Salzer (1950s) Support structural tones, but don't necessarily fit chordal grammar or functional I-V-I bass progression see Salzer's analysis of "Bruyeres" 20th-century pieces can also prolong non-traids (Jeux d'eau)

Cohn on preceding Wagner theory

in Intro to NR (1998) Just because a passage ends with a cadence doesn't mean the preceding material is tonal. This perspective extends back to Fétis's treatment of sequences, has been central in German scholarship since Kurth, has been transmitted to American via Adorno and Dahlhaus, and is manifest in writings by Abbate and Newcomb. These scholars, however, are interested in reading DISunity - Cohn illustrates unity

VanHandel & Song

no pnPVI (phrase-nPVI) differenes between 19th-century French and German art song Higher pnPVI in compound mtere than simple Other composer distinctions - classify style, solve authorship questions cf. Davy finding that nations with higher linguistic nPVI had lower musical nPVI or folk/popular/art songs from around 1900 (England, Germany) - this is the opposite finding of Patel and Daniele re: instrumental music

Contributions to 1998 JMT article on NR Theory

Childs - transformations on (0258) that hold two common tones, move the other two by half-step - applies to Wagner, Chopin, Stravinsky Gollin - models (0258) on three-dimensional tonnetz, which he generalizes to model less-parsimonious [Boretz had studied (0258) in the '70s] Callender - parsimonious connections between harmonies and scales of Scraibin (mystic chord, WT, acoustic, octatonic) Douthett & Steinbach - graphs of voice-leading parsimony among numerous chords of tonal music (augmented and consonant triads, (0258), minor 7th chords, fully-diminished 7th chords), as connected to Modes of Limited Transposition Clough - connections between S/W and T/I groups

Johann Walther's (1684-1748) cadence formations

Clausula formalis perfectissima - PAC Clasula cantizans - 7-1 in the bass Clasula tenorizans - 2-1 Claulsa altizans - 5-(4)-3

Riemann <> Neo-Riemannian Relationship

Cohn relates Hyer's work to Riemann's S/W system. Lewin relates to harmonic function (poo-poos transformational absence in Riemann), but Klump notes closer affinity to root motion (1880; function not introduced until 1893)

Huron's three principles that shape voice leading

Continuity Principle Pitch Proximity Principle (yodel/trill) Pitch Co-Modulation principle (auditory scene)

Schenker's conception of music history in Harmonielehre (1906)

Counterpoint lacks scale steps - they're only in free composition. Scale steps emerge with development of melodic content in horizontal direction. Organum > triadic counterpoint: each pitch weighted down in the vertical direction. Italian monody (Caccini, Peri) the first to expand the melody in the horizontal direction - emergence of scale step via avoidance of rules of strict counterpoint over pedal point, etc. - THOROUGHBASS!

Changes in SD <> chord type relationship in 1700s

Early 1700s, people like Rameau use chord type to define SDs 1750s/60s, SDs define chord types (Rule of the Octave) - a shift toward key-based functional thinking

Van Noorden

Establishes coherence (yodel) and fission (trill) boundaries, beyond which it's impossible to hear oscillating pitches as one or two pitches, respectively

Formants

F1 related to vowel height (high F1 = low vowel) F2 related to front-back dimension (high F2 = back vowel)

Mattheson's four features of a good melody

Facility - follows nature Clarity - projects a single affect Flow - no interruptions Charm - uses more skips than leaps (also, variety)

Rameau teaching melody harmonization

Figure out fundamental bass first, and then just pick a bass line from the chord tones. This is reverse of figured bass manuals, which take a bass line as a given and teach you how to play over it :).

Landini cadence

Francesco Landini (1325-1397). Landini cadence used extensively in the 1300s and 1400s. Compare with plagal leading tone.

Marpurg as theorist

Freely mixes speculative and practical - inverted chords are equivalent, but he can still criticize Sorge for free 6/4 usage Generates chords from the diatonic scale (not vice-versa, as Rameau) Fundamental bass for suspensions (13th chords), but NOT for progressions - these function according to voice-leading (betrays a thoroughbass perspective, likely from Gasparini) Composition method: start with 2-voice framework, work upward (contra Kirnberger, Rameau, Bachs)

Role of passing chords in the 1700s

Fundamental bass theories see passing harmonies (extension of the fundamental), while counterpoint and thoroughbass often treat each verticality as its own thing cf. 1800s, Sechter

nPVI formula

Grabe and Lowe for language m = number of segments (100/m-1) * sum[k=1 to m-1] |(dk-dk+1)/(dk+dk+1/2))|

Koch's species

Gradated exercises for melody harmonization - think of melody harmonically 1) Primary triads in root position 2) Add inversions and leading-tone triad 3) Add incidental chords from key 4) Add suspensions and unprepared 7ths on weak beats 5) Chromatic notes not involved in key changes

Highlights of Albrechtsberger's pedagogy

Gründliche Anweisung zur Composition (1780); practical treatise that assumes knowledge of intervals, inversion, and other basics Species counterpoint (2-4 voices) as activation of harmonic framework - look at the harmony being implied in each measure Still clings to six-syllable solmization, but replaces Fux's modes with major/minor keys

Kurth's main ideas

Harmony and counterpoint are about interplay of kinetic and potential energy, transmitted from the mind of the composer, through the music, to the listener. Energy inheres between the tones. This analytical approach to ctpt captures ideas missed when you just consider the music as elaborated 4-voice structures. For harmony, altered/non-tertian harmonies store up energy, release it when they resolve to tertian harmonies. Form is about hierarchical waves (Kraftwelle) of surging and receding energies - the perennial conflict between becoming and being. (Organicism.) *all about empathy between composer and listener - see Schering

Brown on finite transformations of prototypes

Horizontalizing: repetition (Wiederholung), register transfer, arpeggiation, unfolding, voice exchange, reaching over Filling-in: neighbor note, zug, motion to/from an inner voice Harmonizing: harmonize tone, addition of a tone, mixture, tonicization Reordering (non-recursive): deletion, displacement (cad-6/4)

Schachter's notable analyses

Incorporate text, extra-musical content, meaning, etc. - connect with analysis Beethoven 6, Storm movement "Death and the Maiden" ("Motive and Text in Four Schubert Songs")

IDyoM

Information Dynamics Model of Music Developed by Pearce and Wiggins - see their n-gram approach to melodic expectation

How does Heinichen deal with unfigured basis?

Interval between bass and melody General rules for characteristic bass motions Special rules (chords within particular keys, modulations) Last chapter of 1278, figures an unfigured bass by Alessnadro Scarlatti and explains how he did it (scale-step harmonic norms, cadence patterns)

Schenker on diminution

Italian diminution primarily for text expression - diminutions not related to each other Germans attain absolute diminution - less reliance on words, more interest in interrelation between diminution. See Hassler chorale: faithful to prosody, but with independent tonal structure. German chorales don't permit Italian-style diminution - instead to chorale prelude, etc.

Daube

Johann Friedrich Daube (1730-1797) Thoroughbass in Three Chords (1756) shows strong Rameau influence (although he claims not to have known it). 1) Tonic 2) Subdominant (added 6th) 3) Dominant [all other harmonies come from here] Doesn't allow imperfect cadence (IV-I) Doesn't care about stepwise motion of fundamental bass

1700s dice games

Kirnberger - composing minuets and polonaises (1757), sonatas (1783) CPE - invertible counterpoint (1757) "w/o knowing the rules"

Kirnberger as theorist (relating to Rameau)

Known for clarity Ramellian influences: triads and 7th chords as fundamental, 7th chord = source of all essential dissonances, fundamental bass interprets progressions and moves by 3rd and 5th Non-Ramellian: No double emploi, no added 6th chord (agrees with Marpurg here), no speculative baggage, essential vs. non-essential (relate to FB change) When seventh chords resolve up by step, they're 9th chords (an alternate reading of subposition). G7 = a = E-9 - a Complete harmonic progression and cadence establish a key - relates harmony to phrase structure (frees him from Ramellian implied dissonance driving progressions). Distinguishes between tonicization and modulation (latter requires a cadence)

Energeticist relationship to structuralism

Kurth and Halm (in particular) trying to rescue musical content from Hanslick-ian structuralism, in which content tends to dissolve into form.

Late 1900s Energeticists

Larson - inertia, gravity, magnetism Lerdahl (+ Krumhansl) - models of tonal tension Zuckerkandl - tones as dynamic symbols deriving energy from force field of major scale Wallace Berry - plots influence of various parameters on "intensity curves" Agency models of Guck, Maus, etc.

Handel's Thoroughbass for Princess Anne

Lists progressions to learn by rote, doing away with rules and ordered catalogs of chords

London's view of meter

Meter as entrainment. Drawing on Jones et al, meter requires 3 levels (3 levels of 3/4, for example) Higher level - future-oriented attending Tactus Lower-level - "analytic attending" (subdivision)

London's relationship to the 18th century

Meter in the listener = Koch's Ruhepunkt des Geistes at cadences. (However, Koch is time-point discrete, while London's conception of time, like Jones and Large's, is continuous)

Smith's theory of formal structure

Music Analysis (1996) Tries to unite inner and outer form All open forms = divided structures All closed forms = neighbor tones or mixture (We should broaden range of fundamental structures to do justice to all formal stereotypes) Reprise is important formally, so it should be reflected by structural recurrence - either descent to 1 (in closed forms), or interruption (in open forms)

Harmoniesystem in dualier Entwickelung

Oettingen, 1866 Early tonnetz (uses pure tuning), tonicity, phonicity, introduces schritte and wechsel (later expanded by Riemann)

Event-related binding

One of Huron's rules for how we construct mental representations. We tend to attach relational attributes to single events - intervallic qualia are ways of approaching the second note, single notes are syncopated

Bret Aarden's reevaluation of Krumhansl

Original experiments confounded by closure - how well does a probe tone function as an ending? We maintain at least four mental schemas for scale degrees - simple frequency and phrase ending for both major and minor contexts.

Halle & Lerdahl (1993)

People make similar alterations to text when asked to fit more syllables against the backdrop of a familiar tune

Koch on phrasing

Period is a complete thought, ending with a cadence - defined by length and tonal orientation of ending Phrase (Satz) is part of a period. It can be the closing phrase (Schlussatz), or an inconclusive phrase (Absatz), which ends on dominant, non-tonic, or w/o cadence. Phrases and segments (Einschnitte) are also defined by cadential ending, length, and degree of completion Interested in phrase expansion, juxtaposition (like Riepel), but he underpins it with solid understanding of harmony (unlike Riepel)

Patel's OPERA hypothesis

Pertains to benefits of musical experience on linguistic processing Overlap, Precision, Emotion, Repetition, Attention - the things you need to do during musical practice to reap mental benefits from music in the domain of language processing

Phoneme vs. allophone

Phoneme difference = meaning difference Multiple allophones can map to the same phoneme in a language One language's phoneme is another's allophone

Early assessors of stress- vs. syllable-timed languages

Pike (1945) Abercrombie (1967)

How does Molino alter Jakobson's structuralist model of communication?

Producer > Message > Receiver (foundation for structuralism - you can examine the message for content; central to Cooke's music in "The Language of Music" (1959)) becomes Producer > Message < Receiver (tri-partitional analysis analyzes the processes inherent in these arrows between stations)

Brown on prototypes, tonality laws

Prototypes summarize laws of motion in a maximally compact way: 1) How lines move and reach closure 2) How lines move in relation to each other 3) How stable tones behave in relation to unstable tones 4) Distinguish stable/unstable harmonies 5) How harmonies arrange to create functional progressions 6) How chromatic harmonies arise in functional contexts

Schenker's view of Rameau (from Counterpoint)

Rameau creates the theory of the scale degree, the complement of voice-leading; ultimately, he can't see that the two are independent. Subsequent generations write everything down (voice leading takes on a harmonic implication), losing the compositional/improvisational urge. Counterpoint is NOT the sum of compositional study (no to Albrechtsberger, Riemann, Richter)

Kurth's publications

Requirements for a Theory of Harmony (1913) [introduces kinetic/potential energy ideas. Draws on Stumpf's tonal fusion - stacked thirds weigh down on fundamental, create sense of resolution even if chord is dissonant (V7 after Tristan Chord, for example)] Foundations of Linear Counterpoint (1917) - Bach Romantic Harmony and its Crisis in Wagner's "Tristan" (1920) - harmony Bruckner (1925) - form

Anfangsgründe zur Musicalischen Setzkunst

Riepel's major treatise on melody (1752-68) Eschews thoroughbass, fundamental bass, counterpoint - focus is on melody. (Harmony theory is shaky - doesn't accept 7th chord inversions, for example) Defines phrases based on length and cadential orientation. Focuses on transformations of underlying form-functional phrases via repetition, expansion, etc. (although w/o regard for resulting proportions) Focus on minuets, although also treats other genres (sonata = possible keys after double bar, etc.) His focus is compositional, not analytical (as it will become in the 1800s) Influence on Koch

Metric types (from Rothstein)

Rothstein (2008) article Distinguishes French/Italian from German composers based on grouping and metric structures at beginnings and ends of phrases. French/Italian - Starts on secondary accent, ends on primary accent: long anacrusis, final note on downbeat German - Starts on primary accent, ends on secondary accent: short/no anacrusis, final note mid-measure compare with VanHandel nPVI for ethnic art song NB Metric type also refers to London's conception of nested periods of attending

Where does Neumeyer read ascending 5-8 Urlinien?

Schubert, Valse Noble, Op. 77/7 Beethoven, Piano Sonata in Bb Major (Op. 22/III) (see also Riemann on Auftaktigkeit) - echoes the surface motivic content of much of the music. (Schenker reads a 5-line, which Neumeyer agrees with.) Don't settle for Schachter's reading of surface-level motivic consistency - Neumeyer wants to read it all the way to the background!

Four main features of musical prosody

Segment phrase boundaries Highlight items of relative importance Coordinate among producers (turns, etc.) Attributing emotional states to producers cf. Palmer & Hutchins

Semiotics in relation to structuralism

Semiotics comes to grips with the difficulty "that a whole generation born during the heyday of structuralism has now begun to encounter. How can we reconcile the formal and hermeneutic description, the analysis of a neutral level, and a material trace, with the web of interpretants?" One way to do that is to come to grips with the "total musical fact" - situate objects within the tripartition! (Molino > Nattiez). Identify interpretants vis-a-vis the tri-partition, and establish their relationships with each other

Saussure on signs

Signs characterized by their value, which emerges via their oppositions to other signs in the same system Hence synchronic/diachronic, langue/parole (abstract vs. spoken)

pre-Fux conceptions of counterpoint

Species Encyclopedic catalogues of successions (Tinctoris, Bernhard, Mattheson) Zarlino's distinction - simple, diminished, free As elaborations of multi-voice texture (Niedt, Lippius, Koch)

Hmmmm hypothesis

Steven Mithen - five features of a pre-language musilanguage that underlies the evolution of both human language and music Holistic (each utterance means a single thing) Manipulative (of emotional states) Multimodal (uses sound and movement) Musical (temporally controlled) Mimetic (imitates things in the environment)

Bar form

Stolen + Stolen = Aufgesang Abgesang Lorenz finds it extensively in Wagner's works; it reemerged in importance in Schubert, Schumann, and Brahms's works Comes from German Meistersinger tradition of the 1400s-1700s (earlier, the troubador and trouvere traditions) A common form, which can be read into lots of other forms: AA/B, ABAB/CB, AA/BA, AA/BB/A, AA/BB/C, AA/BB

Areas of the brain Schlaug has found are different in AP musicians

Stronger left-sided asymmertry of the planum temporale - a brain area concerned with labeling and categorizing things (it's where we process phonemes) Assumption (N.B. not fact) that underlies cognitive science - every cognitive difference has a neurophysiological difference

Dell & Halle

Strophes of French songs are positionally parallel, while they aren't in English. This is because English requires stress-beat alignment throughout phrases, while French seems to only require itat line ends

Koch's Takt hierarchy

Takte = downbeat (measure) Taktteile = strong/weak beats (counting backward from cadence) Subdivisions of Taktteile Taktglieder Taktnoten

Taktteile vs. tactus

Taktteil - parts of the measure based on division (Mattheson), or beats within a measure (Koch) Both are referential pulse level, but as Mirka points out, Taktteile is assumed a priori by the composer (Koch has a compositional focus), while tactus arises perceptually for the listener. Ruhepunkt (cadence note) retroactively groups taktteile into strong and weak pulses. Kirnberger allows 2,3,4 groupings; Koch only 2 and 3.

Rothfarb's 5 themes of musical energeticism

Thematicization of musical forces Emphasis on internal musical logic Form as dynamic synthesis Ahistoricism (music is not cultural, but absolute) Cultural-ethical mission of preservation Asking questions - where is motion in music? What moves? Where does the motion come from? *About listener-composer empathy; music theory and cognitive psychology interact frequently in these writings

Vogler's adoption of Ramellian ideas

Three basic chords in a key Cadences as models for progression Fundamental bass = chord roots However, Vogler separates scale step and chord type - any chord type can appear with any SD in the bottom

Salzer's analysis of Debussy's "Bruyeres"

Three sections, Ab triad elaborated by a neighbor motion Bb major triad, which he calls a "contrapuntal structural" chord that gets composed out. Deviation from strict Schenkerian orthodoxy - demonstrating Debussy's tonality in a looser sense

Koch on compositional stages

Three stages: Anlage (plan) Execution (Ausführung) Elaboration (Ausarbeitung) (compare with Mattheson's dispositio, elaboratio, decoratio)

Bernhard's major treatise

Tractatus compositionis augmentatus (1655)

Rameau's progression of ideas

Traite (1722) - basics, perfect / irregular cadence (not so much subdominant as part of key) Nouveau systeme (1726) - reference to corps sonore, renewed embrace of subdominant as part of the key via triple-proportion Generation (1737) - full-fledged corps sonore, double emploi [ultimately links chord quality, chord progression, and sense of key]

Jacques Chailley

Traité historique d'analyse musicale (1951), pedagogical textbook Poeitic perspective: consonances became normative according to the order they appear in the overtone series (with reference to the fundamental) cf. Piston, who takes an esthesic approach - deduce rules from observing 1700s/1800s music

Schenker's critique of previous studies of counterpoint

Treating counterpoint as the summit of composition (Albrechtsberger confuses counterpoint and composition; Fux treats fugue as the goal of compositional study) Error compounded by newer schools of counterpoint. Richter comingles harmony and counterpoint too soon, Riemann equates counterpoint and composition, etc. Schenker's contrapuntal exercises are artistic ways to train the ear; vocal basis

Patel on music/language processing

Two domains share resources, but have distinct representations (compromise between two perspectives) - his shared syntactic integration resource hypothesis (SSIRH) cf. Pfordresher & Brown investigating musical processing benefits for tone language speakers, who perform better with production/perception tasks that deal with pitch differences, but not with those that deal with repetition or change in a single pitch

Monodic vs. polyodic

Two versions of composition, outlined in the late 1600s by Wolfgang Caspar Printz Monodic = writing one line at a time Polyodic = writing out all parts simultaneously 1700s, words are recast: Monodic = writing melody, then accompaniment Polyodic = conceiving the whole texture at once

Koch on sonata form

Two-part structure comprising three periods, defined by length and tonal orientation of their ending 1: I-V 2: V - vi (> trans) 3: I-I Downplays thematic dramas within periods that come to dominate 19th-century thinking about sonata form, and parallelism between 1 and 3

Structural Functions in Music

Wallace Berry, 1976

Subjective accent perception of undifferentiated patterns (from Povel & Essens)

We hear as accented: Isolated tones Second tone of two-tone groupings (agogic - second tone accented because a rest follows) First and last of 3+ tone groupings

Categorical perception

We perceive a continuum of phenomena as having a dividing line between categories when we identify them on their own, but we can't often tell the difference when we have to decide whether two sounds are the same or different see Desain and Honig, notated vs. performed rhythm

Der Übermässige Dreiklang

Weitzmann, 1853 The augmented triad - each consonant triad is a semitonal displacement of one of the four augmented triads, which are voice-leading black boxes that allow for parsimony.

Alternate unfolding

cf. Naphtali Wagner (1995) Example in Schenker, fugue subject of C# minor fugue from WTC I Example from Wagner: Haydn Piano Sonata in C Major, Hob. XVI/35 (I) FEDC in melody, BCFE in bass - slur melodic FED, or EDC? (sometimes in conjunction with a double voice-exchange)