[Smt-talk] Geno- and phenotype musical structures
Victor grauer
victorag at verizon.net
Fri Jan 18 09:02:43 PST 2013
At 05:35 PM 1/17/2013, Nicolas Meeùs wrote:
>Linear continuity and goal directedness ain't at
>all the same thing! I would consider goal
>directedness (teleology) as a defining
>characteristic of "modality". Linear continuity
>may well be a much wider phenomenon.
But goal directedness is surely an important
element in Schenkerian analysis, no?
>Medieval hocket (and your own examples in your
>figures 12.5-12.8) appear to me a game of
>apparently destroying an inherent continuity, by
>a disruptive distribution among the voices; the
>overall effect remains highly continuous
>("fluent"), only the singers themselve can
>easily become aware of the disruption. This is
>very much the case with Amor potest: you are
>careful enough to quote only mes 16 sqq., when
>the hocket begins, but the mes. before clearly
>consisted in "lines between the voices", making
>it clear that there were two pitch strands (say,
>one around F and the other aroung C a 4th below)
>to be distributed among the singers.
I reproduced the opening of Amor Potest in my
older blog Music 000001 (from which much in my
book has been drawn):
http://music000001.blogspot.com/2008/03/141-music-of-great-tradition-41hocket.html
While the two upper lines are each in themselves
conjunct (i.e., continuous) and to some extent
goal directed, the continual stimmtauch
obliterates, for the listener at least, these
lines as linear continuities, producing a
resultant not unlike the African examples I
discuss elsewhere. This in turn produces a static
effect dominated by the continual repetition of
the simultaneity F-C, which makes it very
difficult for the listener to hear the work
linearly and produces, due also to the
"maddening" repetition, a confusing and somewhat
trancelike effect not unlike that of certain
minimalist works today. I don't know what
Schenker would make of this, but I don't think he'd approve.
> You claim that Pygmies and Bushmen sing
> "highly disjunct motives"; but how can you be
> sure that they do not realize how highly
> conjunct the overall result is? Are you so
> certain that counterpoint in the West,
> especially in "free writing", "involves
> continuous melodic lines", rather than continuous overall situations?
I'm not sure what you mean by "continuous overall situations."
>It seems rather difficult to ascertain whether
>melodic fluency, in these case, is not merely
>trivial. A succession of disjunct intervals,
>fanfare-like, appears almost bound to produce
>apparent linear melodies. This is inherent to
>the restricted number of degrees in any
>diatonic-like (or inherently consonant) system.
>How can you be sure that these highly disjunct
>counterpoints that you describe are not a game
>to hide or disguise an overall, resulting linear continuity?
You raise a very interesting point. And in fact a
great many of these Pygmy and Bushmen
performances are in fact based on what I've
described as "A basic 'theme,' sometimes heard,
more often implied, that serves, along with the
rhythmic cycle, as an underlying organizational
element." One might speculate that this sort of
thing could be the historical prototype of the
Schenkerian "urlinie." (I'm tempted to place a
"smiley" emoticon after that statement, but
perhaps it's not so funny after all.)
For example, in the Aka Pygmy song Makala, as
presented in summary form in Michelle Kisliuk's
book, Seize the Dance
(http://2.bp.blogspot.com/-EXZWTnp2DO4/ThyU_f_iIjI/AAAAAAAAAbc/5bddmhRKsu8/s1600/Kisliuk+Figure+6-1.gif),
the "theme" is presented in the uppermost vocal
part, with some possible elaborations beneath it
(the vertical lines and brackets were added by
me). This theme is in fact essentially linear
(though not all such themes necessarily are). (It
would be interesting to learn whether a
Schenkerian analysis of an extended portion of a
performance of this song could recreate this
underlying theme.) But most of the elaborations are clearly disjunct.
While such performances can be based on themes
exhibiting linear continuity, it's very difficult
to hear the overall effect as an interplay of
independent lines, each with its own continuous
flow. What we tend to hear is a resultant, which
is very different from Western counterpoint,
where what is heard, ideally, is an interplay of
independently continuous lines. Whether as you
suggest the resultant effect could be "boiled
down" into something continuous, is certainly
worth exploring, but I must say I doubt it.
Certainly the texture is continuous, but I find
it difficult to hear anything linear in such
performances, when taken as a whole. But since I
don't understand what you mean by a "continuous
overall situation" I could be misunderstanding you.
Nevertheless, my principal point was that this
type of musical organization seems fundamentally
anti-Schenkerian, both in its tendency to
substitute a resultant for an interplay of
independent lines and its lack of goal-oriented
motion, which gives the impression of tonal
staticism rather than movement, as assumed by Schenker.
Victor Grauer
Pittsburgh, PA
USA
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