[Smt-talk] Written record of Boulanger pedagogy?
David K Feurzeig
mozojo at gmail.com
Mon Dec 20 06:11:21 PST 2010
This is a wonderful end-of-semester thought-provoking thread.
Dmitri's surmise:
> I would be surprised if the progressions they contained diverged
> radically from those in standard tonal harmony.
prompts me to underscore the potential circularity of such correlations.
What is (or becomes) "standard" has, of course, much to do with how
music is taught. The vast majority of composers--not only the rank and
file but also the "geniuses" whose canonized work becomes normative--
received extensive formal instruction. The influence of a national or
school tradition, or even of a single pedagogue or treatise, can be
significant. I'm thinking, for instance, of the wonderful but tortuous
Albrechtsbergerian counterpoint of late Beethoven, where pedagogical
peculiarities, however transcendently handled, are very much in
evidence. Or think of the invention of the Locrian mode by early
theorists, like an undiscovered element on the periodic table (though
that's one that didn't "take", obviously).
This theory-to-practice influence ought to be much stronger in the
relatively small world of music than in spoken or even written
language, where the ratio of "expert practitioners" to the number of
grammarians or pedagogues is an order of magnitude larger than for
music composition. (Even in language, though, we have strictures such
as the avoidance of split infinitives, sentence-ending prepositions,
etc., that are said to originate more from theory than from practice.)
David Feurzeig
University of Vermont
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