[Smt-talk] Geno- and phenotype musical structures
Nicolas Meeùs
nicolas.meeus at paris-sorbonne.fr
Fri Jan 18 13:14:40 PST 2013
Le 18/01/2013 18:02, Victor grauer a écrit :
>> 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?
For sure: Schenker's theory is a theory of tonality. Yet, in an earlier
message, you had written: "the sort of linear continuities emphasized by
analysts like Schenker are hardly universal", without mentioning goal
directedness, and that is what puzzled me.
> [...] 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.
There are several points here:
– The continual stimmtauch obliterates linear continuities... I am not
certain of that. It really depends on what one listens to, and we should
beware of believing too much what we read in the score. Stimmtauch is
perceptible only if the voices themselves are perceived as having
distinct timbres; this may not be the case.
– The static effect, on the other hand, the "maddening" repetition,
indeed has a confusing, trancelike effect. But this may not be linked
with the linear (dis)continuity. I sympathize with your project to
discover an Ur-music, but you must try and define it for what is most
essential in it: trance, perhaps, but discontinuity?
– Schenker is concerned with the "structural" value of music. In a
minimalist work, the structural value (which, by definition, excludes
repetition) also is minimal... This is not a value judgment, it merely
amounts to saying that value, in this case, does not reside in the
structure, but probably in the repetition.
> I'm not sure what you mean by "continuous overall situations."
I meant overall situations that could be heard as linearly continuous,
even if that was not how they were performed. But my formulation indeed
was very poor.
> 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.)
It all depends on what you call "Urlinie". Schenker's original idea of
the "original line" is very much linked with his idea of continuity, of
"fluency". This, as a matter of fact, is not really, or not exclusively,
his own idea: it belongs to the history of counterpoint theory, in
Europe, and probably to much earlier ideas. I hardly could figure out
how "music" (or any artistic expression, for that matter) could have
been conceived without some idea of "continuity". But I recognize that I
am getting old and that my imagination may be narrower that before...
Schenker's final idea of the Urlinie as a Fundamental line is a very
powerful idea, but indeed remote from that of repetitive music.
> 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.
While I can agree about tonal staticism vs movement, I invite you to
reconsider your opinion about Schenker with respect to resultant vs
independent lines. Many of the Schenkerian analytic devices are meant to
track a resultant continuity behind, say, compound melody, lines between
voices, unfoldings, octave transfers, voice exchanges, etc. etc.
Schenker of course believed that much if not all of this could be
justified by harmonic considerations. Yet I trust that there is
something more fundamental behind many of his ideas.
The point that I want to make is not extremely important, after all. It
merely is that I felt your initial anti-Schenkerian "attack" (your
message of 14 January: "For example, the sort of linear continuities
emphasized by analysts like Schenker are hardly universal and can hardly
be taken as standards of "excellence" outside a relatively narrow
historical framework, within which such a standard developed as a
tradition") needed further attention. There is very little in Schenker
that is universal: to be universal never was his intention, on the
contrary. But one should not reject the baby with the water: some of his
ideas were as universally musical as can be.
Yours
Nicolas Meeùs
Université Paris-Sorbonne
http://nicolas.meeus.free.fr
http://heinrichschenker.wordpress.com
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