[Smt-talk] Headlam on Orbifolds
Dmitri Tymoczko
dmitri at Princeton.EDU
Sun Mar 15 12:00:12 PDT 2009
Ildar wrote:
> Yes, there is a phenomenon of melodic stepwise motion and it plays
> an important role in music. It was known well before Schenker and
> voice leading has been the goal of many national pedagogic systems
> of the past. But this motion does not override other factors such
> as tonal functions. They work together making harmony, or part-
> writing (as mentioned in one of latest postings), a heterogeneous
> system. Harmonic progression cannot be reduced to melodic stepwise
> motion by debunking the tonal function, but it needs melodic
> stepwise component for the coherence of the finished product. In
> fact, the requirement of stepwise motion is mandatory for inner
> voices, it is applied to melodic voice together with the demand for
> strong functional relationship, but it is not mandatory for the
> bass. In general, it is nice to see voices in a progression moving
> stepwise, but what is the engine that moves them, if not the tonal
> function? What makes the G “wanting to go to C?” What does the word
> “resolution” mean to you?
I agree with you that music is heterogeneous. As you say, different
rules apply to the bass and to upper voices; efficient voice leadings
often occur in the upper voices while the bass moves by leap. This
is why I typically model upper voices separately from the bass.
I also agree that functional tonal music involves genuine harmonic
laws that cannot be reduced to voice leading. In fact, I would say
that the voice-leading principles governing 18th-century music are
quite similar to those governing 16th century music -- avoidance of
parallel fifths and octaves, efficient voice leading in upper parts,
similar cadential formulae, etc. What is new is a set of genuinely
harmonic laws, of the form "ii goes to V but not vice versa."
Let me also say that a lot of these issues are clarified in my book
("A Geometry of Consonance"), which is basically done. (The
manuscript is being torn apart by readers and editors as we speak.)
I try to explain how to use all these new geometrical ideas in a
practical analytical context, addressing all these points and
providing lots of analytical examples.
> In this respect, I see no problems feeding a different data into
> your system. Let us imagine that a semitone does not represent the
> smallest distance in all cases. Ernst Kurth wrote so much about B
> to C relationship, that this distance is not the closest and it
> takes much energy to cover it. Schenkerians also talk about
> “neighbor leap,” meaning that a leap can function as an adjacency.
> Motion from C to G seems to present a larger distance than that
> from C to C#. For a mathematician this is the fact. For a person
> who has spent 11 years in Ear Training class studying tonal
> structure this is not exactly so. From a certain point of view, the
> distance between C and G is small. The distance from G to C is even
> smaller (our musical space is warped!). The distance from C4 to C5
> is almost indistinguishable.
I believe that there are many different distances relevant to music.
For an even simpler example, consider a scale -- in C major, the
distance from C to D, like the distance from E to F, is "one step."
A scale provides a contextual distance measure, the scale step. This
in turn provides a metric on the pitch-class circle, and hence the
orbifolds.
DT
Dmitri Tymoczko
Associate Professor of Music
310 Woolworth Center
Princeton, NJ 08544-1007
(609) 258-4255 (ph), (609) 258-6793 (fax)
http://music.princeton.edu/~dmitri
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