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Into
the
Foothills:
New
Directions
in
Nineteenth-Century
Analysis
Lewis
Christopher
The music of the nineteenth century, subsumingas it does
the last effusions of mature Classicism,the full growth of Romanticism and post-Romanticism, and the beginnings of the
radicaltwentiethcentury,presentsan immenselyvariedtopographyto the theoreticalexplorer. Curiously,it is a topography
that bearssome resemblanceto that of centralAlberta:the city
of Edmontonis situatedon the edge of the greatwesternplains,
but as one leaves the buffalo flats and travels westward, the
land subtly changes. Eventually, without quite knowing how,
the travelerfinds himself in the foothills. Although there is no
precise boundary, nonetheless the terrain is somehow different. Then, as our travelercontinueswest, he soon realizesthat
he is no longer in the foothills, but actuallyin the true mountains, althoughagain there is no single point at whichhe leaves
the one for the other. Each of these topographieshas its own
peculiarcharacteristics,but it is also true that each sharessome
of the characteristicsof the others; so a mountainclimberin a
small valley may, by concentratinghis gaze only on the flat
patch of groundunder his own feet, imaginehimselfstill down
in the flatlands.He needs a widervision to place his little valley
in its propercontext amidthe surroundingpeaks. In effect, our
metaphoricalwestwardtravelerhas passed from the commonpractice plains, through the foothills of Romantic and postRomantic chromatictonality, only to be faced with the formidable ice-cladprecipicesof the twentieth century.
One of the most intriguingand most provocativeaspects of
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have not been ignored in the recent literature, and Schoenberg's theories are a useful startingpoint for a number of researchers.5WalterFrisch'sBrahmsand the Principleof Developing Variation investigates Schoenberg's fragmentary
theoriesof thematiccontinuityand economy, and appliesthem
to a selection of Brahms's larger instrumentalworks. Frisch
finds important models for those thematic procedures in
Beethoven, Schubert, Schumann, and Liszt, but shows
Brahms's unique interpretationof thematic transformation,
metricaldisplacement,linkagetechnique, and continuousmotivic reinterpretation.
Schoenberg'stheories also inform PatriciaCarpenter'sexploration of motivic coherence and tonal relationships in
"Grundgestaltas Tonal Function." Her linking of the two,
showing that Grundgestaltcan function variously in tonal
music-in motive, in theme, in structural design, in tonal
logic-elucidates a musicalcoherencythatcomplementsthatof
the contrapuntal voice leading. The motivic-tonal crossreferencingshe finds in Beethoven seems of increasingimportance in the post-Romantic idiom, as the familiar diatonic
structuralunderpinningsbecome more diffuse.
A trilogy of papers by Allen Forte discusses the motivic
character of three post-Romantic masterworks against a
Schenkerian, rather than a Schoenbergian, background.6
Defining motives very liberally, essentially as an intervallic
boundaryratherthan a complete physiognomy,Forte demonstratesthat in these pieces motivic design and structurallevels
are intimatelyconnected, and he shows the primalsignificance
5Inadditionto the articlesby WalterFrischand PatriciaCarpenter,see the
two essays by GrahamPhipps.
6Forother discussionsof thematic, motivic, and formalprocesses, see entriesfor CarolynAbbate, Brown ("Isolde'sNarrative"),Arno Forchert,Philip
Friedheim,Hantz, Levenson, Roger Parker,Parkerand Brown, and Ruth A.
Solie.
of the motives as a determinantof musicalgesture at the foreground and middleground.Identifyingan importantpath for
future research, Forte speculatesthat the motivic penetration
of the middlegroundmay be "a structuralaspectof widespread
significancein all musicof the laternineteenthcentury." In particular, he notes that specific pitch classes and dyads serve as
structuraldeterminants,initiatingor terminatingcrucial motions or providingstructuralcross-references.In a fourth paper, Forte applies pitch-classset theory to Liszt's later music
and finds a systematic expansion of traditionalvoice leading
and harmony that produces-at more than one levelsonoritiesthat are not partof the centralsyntaxof tonal music.
The variety of analytic positions now available is demonstratedin the papersby Kofi Agawu, Peter Bergquist,and Richard Kaplan on the Adagio of Mahler's Tenth Symphony.
They illustratenot merelythe usefulness,but indeed the necessity, of looking at post-Romanticmusicfrom as manypoints of
view as possible. None of them is wrong;each of them is rightin
ways that the others are not; and even taken together they are
far from providingthe last word on Mahler'sTenth.
One of our greatestchallengesin the next decade will surely
be to frame formal systemic reconciliationsamong Schenkerian, Schoenbergian, set-theoretical, "double tonical," and
other approachesto late tonal music. It is essentialthat we continue to find ways to regardthe various analyticalpostures as
complementaryratherthan antithetical.Meanwhilework will
continue in other areas I have not even mentioned in this report: the analysisof music with explicit or implicittext, of the
cyclic nature of sets of pieces, of multi-movementsymphonic
designs,of non-musicalanaloguesfor musicalprocesses,andso
on. The appended bibliographycontains numerousitems not
discussedin my text, but even so mustbe regardedas a selective
listing. It should be read not as an identificationof the "best"
papersproduced, but as an overview of several approachesto
the many problems posed by nineteenth-centurymusic. With
BIBLIOGRAPHY
Abbate, Carolyn. "Opera as Symphony,a WagnerianMyth."
In Analyzing Opera, edited by CarolynAbbate and Roger
Parker.Berkeley and Los Angeles: Universityof California
Press, forthcoming.
Agawu, V. Kofi. "Conceptsof Closureand Chopin'sOp. 28."
Music TheorySpectrum9 (1987):1-17.
. "The Musical Language of KindertotenliederNo. 2."
Journalof Musicology2 (1983):81-93.
. "Tonal Strategy in the First Movement of Mahler's
Tenth Symphony." Nineteenth-Century Music 9
(1986):222-233.
Archibald, Bruce. "Tonality in Otello." Music Review 35
(1974):23-28.
Bailey, Robert. "An Analytical Study of the Sketches and
Drafts." In Prelude and Transfiguration
from "Tristanand
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Boretz, Benjamin. "Meta-Variations,Part IV: Analytic Fallout (II)." Perspectives of New Music 11/2 (1973):156-203.
Clarkson,Austin, andLaufer,Edward."AnalysisSymposium:
Brahms, Op. 105, No. 1." Journal of Music Theory 15
(1971):2-57.
Cone, EdwardT. "ThreeWaysof Readinga Detective StoryOr a BrahmsIntermezzo."GeorgiaReview31 (1977):554574.
Forchert, Arno. "Zur Auflosung traditionellerFormkategorien in der Musikum 1900:ProblemeformalerOrganisation
bei Mahler und Strauss." Archiv far Musikwissenschaft 32
(1975):85-98.
Forte, Allen. "Liszt'sExperimentalIdiom and Music of the
Early Twentieth Century." Nineteenth-Century Music 10
(1987):209-228.
. "MiddlegroundMotives in the Adagietto of Mahler's
(1986):1-33.
Burstein,L. Poundie. "A New View of Tristan:Tonal Unity in
the Preludeand Conclusionto Act 1." Theoryand Practice
8/1 (1983):15-41.
Carney, Horace Richard. "Tonality and Structurein the InstrumentalWorks of Johannes Brahms." Ph.D. dissertation, Universityof Iowa, 1981.
Carpenter,Patricia."Grundgestaltas Tonal Function."Music
TheorySpectrum5 (1983):15-38.
Chusid,Martin."TheTonalityof Rigoletto."InAnalyzingOpera, forthcoming.
Cinnamon,Howard. "Third-Relationsas StructuralElements
in Book II of Liszt'sAnnees de Pelerinageand Three Later
Works."Ph.D. dissertation,Universityof Michigan,1984.
. "Tonal Structureand Voice Leadingin Liszt's Blume
und Duft." In TheoryOnly 6/3 (1982):12-24.
. "TonicArpeggiationand SuccessiveEqual ThirdRelationsas Elementsof TonalEvolutionin the Musicof Franz
Liszt."Music TheorySpectrum8 (1986):1-24.
Clark,RobertLau. "InitialVersusUltimateTonalityin Instrumental Music of the Classicand RomanticPeriods." Ph.D.
dissertation,CatholicUniversityof America, 1979.
163.
. "Motive and Rhythmic Contour in the Alto Rhapsody." Journalof Music Theory27 (1983):255-271.
. "Motivic Design and StructuralLevels in the First
Movement of Brahms'sStringQuartetin C Minor." Musical Quarterly 69 (1983):471-502.
(1974):21-43.
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