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<font face="Calibri">Ildar,<br>
<br>
If you do not want to consider my arguments, I see little point to
continue this discussion.<br>
<br>
Let me stress, very shortly:<br>
– that Schenker's hierarchy of notes is not half note, quarter
note, eighth note, in this order. It depends on context. Often, he
adds a flag to a note stem to stress that note, not to reduce it
to half its value. This is why he may add the flag to a white note
as well as to a black one. The notes that Schenker writes white
are not necessary half notes, nor black ones necessary quarter
notes.<br>
– that Schenker does not use the word <i>arpeggio</i>, although
it existed in German. He writes <i>Brechung</i>, which has a
similar meaning but a different etymology (it is akin to the
English <i>break</i>).<br>
– that the fifth does not represent "at the same time" a
linearization (or an arpeggiation, a breaking) of the tonic chord
(its "divider at the fifth") and another harmony. In this you
conflate two successive moments of the organic elaboration of the
work. You may dislike this way of viewing things, you may consider
it subjectively wrong. But you cannot state that it is objectively
false.<br>
– that the hierarchic importance of IV or II (as compared to V or
I) is, I think, a matter of opinion (as I said before). You refuse
this and you repeat your certitude that they share the same
hierarchical status. This makes further discussion pointless.<br>
<br>
The rest of your message is irrelevant to the present discussion.<br>
<br>
</font>Nicolas Meeùs<br>
Université Paris-Sorbonne<br>
<font face="Calibri"><br>
<br>
</font><br>
Le 10/05/2012 02:29, Ildar Khannanov a écrit :
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<div>Dear Nicolas,</div>
<div><br>
</div>
<div>I aologize for a mistake with beaming 1, 3, 5. I
wanted to say that Schenker prioritizes scst3 in the
bass line over scst 4. In the following examples:<span
lang="en-US"><br>
Examples 14, 1a, 1b, 2a, 2b, 3a, 3b, 4a, 5b,</span><br>
Examples 15, 1a, 1b, 2a, 2b, 3a, 3b, 4a,<br>
Example 16, 1a, 1b, 2a, 2b, 3a, 3b,4a,<br>
Example 18, 1abc, 2ab, 3ab, 4ab, FC, Longman 1979
Schenker marks scst3 as a “quarter note” or “half note,”
which is the status, next to a beamed note, while all
the subdominants are given only a note head. He provides
RN's I6 and III under each scst3. In so many examples,
scst 3 receives higher priority than scst 4 in the bass.
Why? Because Schenker himself called it bass
arpeggiation:
</div>
<p style="MARGIN-BOTTOM: 0in">
</p>
<p style="MARGIN-BOTTOM: 0in" lang="en-US">quote: I-V-I
bass linearizes the tonic triad through a disjunct
apreggiation, by moving from the root to the upper fifth
and back again. Schenker referred to this motion as bass
arpeggiation (Bassbreshung). In <i>Free Composition</i>
Schenker initially represents <i>Ursatz</i> without an
intermediate harmony, although in later examples he
shows how they may function in relation to I and V. The
occurrences of certain intermediate harmonies—as in the
case of IV moving to V—introduces stepwise motion in the
disjunct bass arpeggiation (I-V-I). In fact, the
introduction of melodic motion intensifies the motion
toward the dominant. Ultimately, however, Schenker
regarded intermediate harmonies as subsidiary to the
tonic and dominant scale steps. p. 118.<i> Analysis of
Tonal Music. A Schenkerian Approach</i>.<br>
Allen Cadwallader and David Gangn<font face="Times New
Roman, serif">é</font>. Oxford UP, 1998. end of quote
</p>
<p style="MARGIN-BOTTOM: 0in" lang="en-US">Of course, the
questions arise immediately: who said that playing scst1
and scst5 in the bass consecutively creates
“arpeggiation”? I asked my wife, a harpist, She said 1
and 5 do not constitute arpeggio because they do not
comprise a chord. Just in case, I quote:<br>
Arp<font face="Times New Roman, serif">è</font>ge. Terme
italliene francis<font face="Times New Roman, serif">é</font>
(arpeggio): literal: jeu de harpe. C'est le'ex<font
face="Times New Roman, serif">é</font>cutions
successive des notes d'un<i> accord</i>, du grave a
l'aigu ou vice versa. 296. Encyclop<font face="Times New
Roman, serif">é</font>die de la Musique. Fasquelle,
Paris 1958. End of quote.
</p>
<p style="MARGIN-BOTTOM: 0in" lang="en-US">And, in
general, how it can be that I and V “linearize tonic
triad” and, at the same time, they represent two
different harmonies (Tonic and Dominant)? These are
small things, of course. </p>
<p style="MARGIN-BOTTOM: 0in" lang="en-US">You wrote:
Schenker does consider that the other notes are
hierarchically less important, but I think that this
hierarchy may be considered possible – unless you
believe that there exists only one truth. You say that
in real progressions (why "real"?) T, S and D have equal
status; but how can you be sure of that, equal status
for whom?
</p>
<p style="MARGIN-BOTTOM: 0in" lang="en-US">My question:
who told you, or Schenker, that “other notes are
hierarchically less important”? They are not less
important, neither they present “ structural functions
less deep than the V.” This is a figment of your
imagination. </p>
<p style="MARGIN-BOTTOM: 0in" lang="en-US">In general, one
can “arpeggiate I and V” and embellish it <i>ad nauseam</i>.
It will never create a meaningful harmonic progression.
</p>
<p style="MARGIN-BOTTOM: 0in" lang="en-US">As for
caricature, while you were fending off my attempts to
question some aspects of Schenker's thinking, Schenker
managed to turn into a monstrous caricature the whole
history of music theory. If you and I were Schenker's
contemporaries, he would have turned us into a
caricature. He would turn you into a dwarf, and I would
be simply pulverized to molecular level: we both speak
languages other than German and come from the countries
of Entente. Volker Schoendorff responded to that by
depicting the “avengers of German genius” as dwarfs
themselves. </p>
<p style="MARGIN-BOTTOM: 0in" lang="en-US"><br>
</p>
<p style="MARGIN-BOTTOM: 0in" lang="en-US">Best,
</p>
<p style="MARGIN-BOTTOM: 0in" lang="en-US"><br>
</p>
<p style="MARGIN-BOTTOM: 0in" lang="en-US">Ildar Khannanov
</p>
<p style="MARGIN-BOTTOM: 0in" lang="en-US">Peabody
Conservatory
</p>
<p style="MARGIN-BOTTOM: 0in" lang="en-US">Johns Hopkins
University
</p>
<p style="MARGIN-BOTTOM: 0in" lang="en-US"><a class="moz-txt-link-abbreviated" href="mailto:solfeggio7@yahoo.com">solfeggio7@yahoo.com</a><br>
<br>
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