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Dear Michele,<div>while contributing to in this thread I didn't think of secondary dominants in terms of a poetic function. I was single-mindedly concerned with the recursion issue. But this is an interesting connection. </div><div><br class="webkit-block-placeholder"></div><div>(1) To begin with, I would localize Jacobsons' poetic function already at a very basic level of harmonic analysis. A paradigmatic axis could systematize the possible configurations of tonal regions and harmonies. The fifth as a root distance between dominant and tonic would be an instance of a paradigmatic relation, for example. Likewize one can look at the paradigmatic axis transformationally, e.g. in terms of a group action on chords with a dominant transformation D and others. </div><div>The syntagmatic axis is constituted by harmonic progressions. The poetic function provides motivation for harmonic progressions in terms of a chosen paradigm. Neo-Riemannian analysis is an example. When the analyst chooses a set of generators on the paradigmatic side (such as P,L,R) and writes chains of those letters between chords in a score, then he motivates the chord progressions under consideration in terms of his paradigm.</div><div><br class="webkit-block-placeholder"></div><div>In addition to this "unpoetic" view, let my add the following association - caused by your posting.</div><div><br class="webkit-block-placeholder"></div><div><div>(2) Remember Lewin's analysis of Schubert's "Morgengruss" (in "Music Theory, Phenomenology, and Modes of Perception"). Lewin draws a link between the ambiguous usage of a subjunctive mood "als wär dir was geschehen", with Schubert's harmonization, and in particular with a secondary dominant right at the penultimate syllable "-sche-". </div><div>The underlying speech act can be analyzed as irony: The hero downplays his advance with the openly disingenuous usage of the subjunctive mood. The underlying intentional state of the hero thus includes recursion (e.g. according to an approach to communication offered by the semiotician Roland Posner). I do not exactly remember Roland Posner's analysis of ironic sign behavior. But it was surely more complicated than: the addresser intends that he makes the addressee believe that he (the addresser) does not believe what he (the addresser) intends to make the addressee believe.</div><div>I feel that the Schubert example and also its argumentative role of Lewin's article offer several directions for further theorizing about recursion in music. Lewin (1986) sketches a theory of musical perceptions which has ideas in common with rhetorical structure analysis in linguistics, which came up in the same years (Mann & Thompson 1987). Unlike in RST Lewin's networks of perceptions are not trees. They include the possibility of subtle contradictions as do Posner's descriptions of intentional states, such as in irony. </div></div><div><br class="webkit-block-placeholder"></div><div>Sincerely</div><div>Thomas Noll </div><div><br><div><div>Am 27.03.2009 um 00:52 schrieb Michele Ignelzi:</div><br class="Apple-interchange-newline"><blockquote type="cite"><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Dear Ildar, Thomas, Dmitri and all,</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><br></div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Does this approach have anything in common with Jakobson's projection "of the principle of equivalence from the axis of selection into the axis of combination," which was the basis for Ruwet's and Nattiez's paradigmatic analysis?</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><br></div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Best,</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Michele</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><br></div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">On Mar 26, 2009, at 02:14 AM, Ildar Khannanov wrote:</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><br></div> <blockquote type="cite"><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Something similar has been done in literary analysis under the term "juxtaposition of metaphor on metonymy."</div> </blockquote><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><br></div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">------------------------------------------</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Michele Ignelzi</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">State Conservatory of Music, Fermo, Italy</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><a href="mailto:m.ignelzi@tin.it">m.ignelzi@tin.it</a></div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">_______________________________________________</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Smt-talk mailing list</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><a href="mailto:Smt-talk@societymusictheory.org">Smt-talk@societymusictheory.org</a></div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><a href="http://lists.societymusictheory.org/listinfo.cgi/smt-talk-societymusictheory.org">http://lists.societymusictheory.org/listinfo.cgi/smt-talk-societymusictheory.org</a></div> </blockquote></div><br><div> <span class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px 0px; color: rgb(0, 0, 0); font-family: Helvetica; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; text-align: auto; -khtml-text-decorations-in-effect: none; text-indent: 0px; -apple-text-size-adjust: auto; text-transform: none; orphans: 2; white-space: normal; widows: 2; word-spacing: 0px; "><span class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px 0px; color: rgb(0, 0, 0); font-family: Helvetica; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; text-align: auto; -khtml-text-decorations-in-effect: none; text-indent: 0px; -apple-text-size-adjust: auto; text-transform: none; orphans: 2; white-space: normal; widows: 2; word-spacing: 0px; "><div>*********************************************************</div><div>Thomas Noll</div><div><a href="http://flp.cs.tu-berlin.de/~noll">http://flp.cs.tu-berlin.de/~noll</a></div><div><a href="mailto:noll@cs.tu-berlin.de">noll@cs.tu-berlin.de</a></div><div>Escola Superior de Musica de Catalunya, Barcelona </div><div>Departament de Teoria i Composició </div><div>Tel (priv.): +34 93 268 75 19</div><div>Tel (mobil): +34 66 368 12 02</div><div><br class="khtml-block-placeholder"></div><div>*********************************************************</div><div><br class="khtml-block-placeholder"></div><div><br><br class="khtml-block-placeholder"></div><br class="Apple-interchange-newline"></span></span> </div><br></div></body></html>