[Smt-talk] Schenker / Diminution
Edward Klorman
eklorman at juilliard.edu
Sat May 12 16:18:48 PDT 2012
Dear all,
I am reluctant to join a thread that has equated Schenkerians to
skinheads (a comparison that strikes me as distasteful), but I would
like to follow up on a point from Giorgio Sanguinetti's message.
Prof. Sanguinetti mentions the diminution of basic voice-leading
paradigms--such as cadential formulae--as a traditional aspect of
musical pedagogy and practice. This is an important aspect of
Schenkerian thinking that is often misunderstood by critics of
reduction as an analytical practice.
Ornamentation and reduction can be understood as a two-way street.
That is, the act of elaborating or embellishing comparatively simple
melodic lines is a traditional part of improvisational and
compositional practice. Conversely, a "reduction" is the reverse of
this process, whereby the notated material is understood to be the
embellishment of a hypothetical, prior, un-ornamented version. The
Schenkerian idea of levels is helpful for juxtaposing relatively
simple and relatively more elaborate versions of the same material,
and Schenkerian notation and concepts (such as octave transfer,
reaching over, etc.) serve to illuminate the transformations from one
level to another.
This aspect of Schenkerian thought is, I think, what William Benjamin
(1981) means when he perceptively refers to the foreground as a
"performance" of the middleground and background. It is by no means
the goal of a Schenkerian analysis to "reduce" the composition to its
most "important" notes but rather to understand the relationship
between an embellished musical surface and a simplified or normalized
version. Carl Schachter (1987), in a famously colorful footnote, has
addressed this conflation of a note's level with its importance, along
the same lines as Walter Everett's recent message.
Best,
Edward
==========================
Edward Klorman
The Juilliard School
Chair, Music Theory and Analysis
Faculty, Chamber Music
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