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<font face="Calibri"></font>Le 17/07/2011 17:15, Eytan Agmon a
écrit :
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<div class="WordSection1">
<p class="MsoListParagraph" style="text-indent: -18pt;"><!--[if !supportLists]--><span
style="font-size: 11pt; font-family:
"Calibri","sans-serif"; color: rgb(31,
73, 125);"><span style="">(1)<span style="font: 7pt
"Times New Roman";"> </span></span></span><!--[endif]--><span
dir="LTR"></span><span style="font-size: 11pt; font-family:
"Calibri","sans-serif"; color: rgb(31,
73, 125);">I believe that Schenker would also not regard
(say) the “global” prolonged tonic as belonging to the same
level as the I-V-I by which it is prolonged.</span></p>
</div>
</blockquote>
Indeed. And this is why I consider that the two tonics in I–V–I are
not the same as the prolonged tonic (and that, as Ildar told us, the
second I is not the same as the first).<br>
<blockquote cite="mid:007801cc4494$56462d30$02d28790$@012.net.il"
type="cite">
<div class="WordSection1">
<p class="MsoListParagraph" style="text-indent: -18pt;"><span
style="font-size: 11pt; font-family:
"Calibri","sans-serif"; color: rgb(31,
73, 125);"><o:p></o:p></span></p>
<p class="MsoListParagraph" style="text-indent: -18pt;"><!--[if !supportLists]--><span
style="font-size: 11pt; font-family:
"Calibri","sans-serif"; color: rgb(31,
73, 125);"><span style="">(2)<span style="font: 7pt
"Times New Roman";"> </span></span></span><!--[endif]--><span
dir="LTR"></span><span style="font-size: 11pt; font-family:
"Calibri","sans-serif"; color: rgb(31,
73, 125);">A chord progression Y-X-Y assumes that X and Y
occupy the same “tonal space” (=diatonic system).</span></p>
</div>
</blockquote>
For Schenker, the "tonal space" certainly is not the diatonic
system. The concept is described mainly in <i>Erläuterungen</i> (<i>Der
Tonwille</i> IX and X, <i>Das Meisterwerk </i>I and II).
Schenker writes: <br>
<i>Die Tonräume des Klanges misst die Urlinie aus und bringt
den Klang so erst zum Ausdruck, zum Bewustsein</i>. <i>Die
Urlinie ist ersters Durchgang, als solcher erste Melodie und
zugleich Diatonie. Andere Taunräume als 1-3, 3-5, 5-8 gibt est
nicht, eienen anderen Ursprung des Durchganges, der Melodie gibt
es nicht. <br>
</i>In Ian Bent's translation: "The Urlinie measures out the
tonal spaces within the chord, and thereby articulates the chord for
the first time, bringing it to consciousness . The Urlinie is the
first passing-tone progression [<i>erster Durchgang</i>]. As such it
constitutes the first melody, and at the same time provides the
diatonic content [<i>Diatonie</i>]. There are no other tonal spaces
than those of 1–3, 3–5, and 5–8. There is no other origin for
passing-tone progressions, or for melody."<i><br>
</i>Remarks about the translation (none of these are
extremely important, I would hate to seem pedant about this; but
they are slightly irritating):<br>
– One possible translation of <i>Ausmessen</i> is "to pace": it is
by pacing the tonal spaces that the Urlinie takes their measure, and
the pacing may be more important than the measure. [Note that the
Urlinie, in this particular text, is an ascending line. It is
changed in a descending one in fig. 4 of <i>Free Composition</i>,
where Schenker nevertheless stresses its articulation on ^8 ^5 (^3)
^1 and its relation to the chord from which it emanates. The
"diatony" (which is not exactly the diatonic system) results from
the pacing of the space.<br>
– Schenker really writes "...thereby brings the chord for the first
time to expression, to consciousness". Ian Bent translation of <i>Ausdruck</i>
in "articulate" might refer to an expression in words, but this
remains unclear.<br>
– "The Urlinie ... <u>is</u> the first melody and at the same time
<u>is</u> the <i>Diatonie</i>"; Schenker does not seem to refer to
<u>providing</u> a diatonic <u>content</u><i>.</i><br>
<br>
Tonal spaces are at first empty spaces. Any filling is dissonant,
while the spaces themselve must be consonant [let's leave aside the
problem of 7th chords]: <i><br>
Der este Urlinie-Durchgang is dissonierend (Sekund, Quart,
Sept). Die Dissonanz wird in eine Konsonanz verwandelt, weil im
Gegensatz zu jener nur diese allein mit ihren Tonräumen (siehe
oben) wieder zu neuen Durchgängen, zu neu sich zweigender Melodie
führen kann. Dies geschieht nun durch Prologationen in immer neuen
Stimmführungsschichten</i>, etc. <br>
Ian Bent translates: "The first passing-tone progression
comprised by the Urlinie generates dissonance (second, fourth,
seventh). Dissonance is transformed into a consonance because only
consonance, with its tonal spaces (as shown earlier) can, by
contrast with dissonance, promote new passing-tone progressions and
freshly burgeoning melodies. This comes about through prolongations
in ever-renewing layers of voice-leading..."<br>
Remarks about the translation:<br>
– Schenker does not say that the Urlinie <u>generates</u>
dissonance, but that it <u>is dissonant</u>.<br>
– The new tonal spaces do not <u>promote</u>, they <u>lead to</u>
new passing-tone progressions.<br>
– <i>sich zweigender</i> belongs to Schenker's sophisticated
German; it means "developing into new branches".<br>
<br>
X does not occupy the same tonal space as Y: insofar as it is made
consonant (by other parts of the voice leading), it creates a <u>new</u>
tonal space, probably within the same diatony. I suspect however
that Schenker is not strict about keeping to the diatony: passing
notes may include a b7 or a #4...<br>
The chord (<i>Klang</i>) has no conscious existence before it is
expressed in prolongation. This confirms the idea of the chord
initially being but an abstraction, a concept (<i>Harmonienbegriff</i>),
as already stated in <i>Harmonielehre</i>.<br>
<br>
<blockquote cite="mid:007801cc4494$56462d30$02d28790$@012.net.il"
type="cite">
<div class="WordSection1">
<p class="MsoListParagraph" style="text-indent: -18pt;"><span
style="font-size: 11pt; font-family:
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<p class="MsoListParagraph"><!--[if !supportLists]--><span
style="font-size: 11pt; font-family:
"Calibri","sans-serif"; color: rgb(31,
73, 125);"><span style="">(3)<span style="font: 7pt
"Times New Roman";"> </span></span></span><!--[endif]--><span
dir="LTR"></span><span style="font-size: 11pt; font-family:
"Calibri","sans-serif"; color: rgb(31,
73, 125);">There exists a logical interdependence between
the vertical and horizontal dimensions, in particular,
between progressions involving triads and seventh chords and
what I call (<i>Musikometrika</i> 3, 1991) “efficient” voice
leading.<o:p> <br>
</o:p></span></p>
<p class="MsoNormal"><span style="font-size: 11pt; font-family:
"Calibri","sans-serif"; color: rgb(31,
73, 125);">Therefore, as far as I can see, the Y-X-Y model
“lets Y grow” in much the same sense as Schenker’s. (Melodic
prolongation is analogous, yet distinct from harmonic
prolongation.)</span></p>
</div>
</blockquote>
We are speaking of descriptions. The Y–X–Y model appears merely to
describe a 'pendular' situation, what Sadaï names the "a–b–a
pattern". Schenker's description as prolongation appears to add
strong precisions about how X relates to Y through voice leading
(and certainly not by mere juxtaposition). Isn't the efficient voice
leading merely a consequence of the structure of chords as piling
3ds, with the result that any note in between the borders of the
tonal spaces is adjacent to at least one (and often both) of these
borders?<br>
In addition, not all prolongations result in embedded chords.<br>
<br>
<div class="WordSection1">Nicolas Meeùs<br>
Université Paris-Sorbonne</div>
<br>
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