[Smt-talk] Subdominant
Olli Väisälä
ovaisala at siba.fi
Sat May 19 08:18:35 PDT 2012
Some further comments to Nicolas Meeùs:
> Your stressing of "the framing points", your "partition principle"
> and "penult principle", all tend to give weight to single notes.
> This, I think, is a reductionist manner of presenting things (but I
> trust that your description is meant as pedagogical). When I stress
> a 6th-progression from F to D, I do not mean that its framing
> points, F and D, are more important, merely that the progression is
> an elaboration of an abstract space delimited by these notes – i.e.
> of a triad to which these notes belong.
Your description of the roles of F and D here is synonymous to what I
expressed by saying that they have greater structural weight; hence
there seems to be no actual disagreement here. Of course, their
significance is not limited to those single notes; nevertheless, in
order for the structure to be comprehensible, these notes and their
special structural status has to be expressed somehow in the musical
surface. My considerations of analytical criteria concerned these
ways of expression.
> To sum up: your criteria seem to me perfect as heuristic or
> pedagogical tools, and I suppose I make use of similar criteria in
> my own analyses or my own teaching. But at a higher level of
> reflexion, they should shade away in favor of more abstract
> considerations: we should always remind our students (and
> ourselves) that reductional processes are but makeshifts for
> unveiling elaborations.
Here, our attitudes seem to differ. In my view, the relative neglect
of such "heuristic tools" is a major defect in Schenkerian theory. We
can construe Schenker's theory as a systemic description of syntax in
tonal "masterworks" (Schenker himself compared music with language).
While Schenker described with great finesse the system of structural
levels that is crucial to his theory, he offered us too little to
clarify how the structural positions are expressed in composition or
how they are to be inferred by the listener or the analyst. In my
view, the theory has nothing to lose but much to gain, if we try to
supplement Schenker's accomplisment by determining principles
relevant to this question. In the end, this question is not only
heuristic or pedagogical, but epistemic. Insofar as we can identify
what kind of compositional features are required to justify readings
of structural weight, it becomes possible to test the theory
empirically.
> (I may be wrong in that, but I cannot refrain from associating the
> "reductionist" view with GTTM.)
>
I would not cite GTTM as a cautionary example but would credit it
with a laudable effort to clarify the basis of structural readings.
My considerations of analytical criteria are, indeed, somewhat
comparable to the preference rules of GTTM. However, while I regard
the aims of GTTM as quite legitimate, there are several respects in
which I find its system of preference rules as unsatisfactory. It is
too simplistic (Lerdhal and Jackendoff themselves admit that it does
not work well with polyphonic music), and I also find some preference
rules as simply wrong or given false weight. There is also the basic
problem that GTTM treats each element in the prolongational structure
as subordinate to a *single* element, whereas musical elaboration
characteristically concerns motions from an element to another, in
the manner of passing tones.
My points of criticism against GTTM's preference rules are too
various to be discussed here (at least we should rename this thread),
but one consideration may be worth presenting. GTTM places a great
weight to "harmonic stability" in its determination of structural
weight, in the sense that I chords are much more likely to become
structurally significant just because they are I chords. In the
Carnaval, this would imply that the I in m. 5 would, in terms of
GTTM, be less likely to become subordinate to the surrounding IV and
V4/3 of V than in Frank Samarotto's (or my) Schenkerian analysis. I
believe that the criteria of prolongational weight should be more
strongly independent of Roman-numeral chord identification than what
GTTM asserts. Hence, prolongational patterns are created actively
through composers' treatment of chords, they do not arise passively
from the mere identity of chords.
Olli Väisälä
Sibelius Academy
ovaisala at siba.fi
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