[Smt-talk] Classical Form and Recursion
Olli Väisälä
ovaisala at siba.fi
Fri Apr 3 00:37:22 PDT 2009
Dear Ildar,
By all means interfere. Unfortunately, it seems that you have
completely misunderstood my position in several issues.
>
> What makes you think that "closure" and its synonim "prolongation"
> are the norms of music, and that they come directly out of musical
> intuition?
>
I only meant that harmonic closure—starting from I and coming through
V back to I—is an important phenomenon in classical tonal music. Do
we disagree in this?
Closure is not synonymous with prolongation, but what I said is that
closed tonic-to-tonic progressions may be treated prolongationally by
assigning them the role of tonic in larger progressions.
> Cadence is an important device, but is it the goal and essence of
> music?
Here, at least, we seem to agree.
>
> A product of real musical intuition is the sense of tension and
> resolution. [...]. However, in your "prolongation" the role of the
> chord which creates tension and requires resolution is reduced to
> almost nothing. It looses its harmonic function, becomes a
> "contrapuntal chord" or Nebenakkord. The most important agency is
> being reduced, the most important event--overlooked. By the way,
> you cannot not notice it while listening to it, but it is possible
> to "reduce" it in visual analysis.
I am afraid you have misunderstood what "reduction" means in
prolongational analysis. If we say that a I–V4/3–I6 progression
prolongs the tonic, it tells that the progression as a whole may
represent the tonic in larger contexts but this in no sense cancels
or diminishes or overlooks the significance of V4/3 as an element of
tension within this progression. Rather, prolongational analysis
models one aspect of this tension, since prolongational weight tends
to correlate with stability (= lack of tension).
(Lerdahl and Jackendoff expressly identify there concept of
prolongation as a model of tension and release, but I think the issue
is actually somewhat more complex and nuanced than what their
treatises indicate.)
>
> A very common example, which is used to demonstrate the validty of
> "prolongation," is the voice exchange progression. And you would
> say that it has a "passing 6/4 chord in the middle." What is the
> function of this middle chord: "Passing." How about passing
> Dominant 6/4? Or the fact that it is the Dominant is unimportant?
Why would the dominant be unimportant? I certainly have not written
anything to imply such a view.
Best wishes,
Olli Väisälä
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