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Harmonic Function in the Late Ninete...

Hutchinson, Kyle .

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Harmonic Function in the Late Nineteenth-century Chromatic Tonality of Wagner and Strauss: A Study of Extensions to Classical Prolongational Practices.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Harmonic Function in the Late Nineteenth-century Chromatic Tonality of Wagner and Strauss: A Study of Extensions to Classical Prolongational Practices./
Author:	Hutchinson, Kyle .
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2020,
Description:	316 p.
Notes:	Source: Dissertations Abstracts International, Volume: 82-01, Section: A.
Contained By:	Dissertations Abstracts International82-01A.
Subject:	Music theory. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=27542733
ISBN:	9798662389007

Harmonic Function in the Late Nineteenth-century Chromatic Tonality of Wagner and Strauss: A Study of Extensions to Classical Prolongational Practices.
Hutchinson, Kyle .

Harmonic Function in the Late Nineteenth-century Chromatic Tonality of Wagner and Strauss: A Study of Extensions to Classical Prolongational Practices. - Ann Arbor : ProQuest Dissertations & Theses, 2020 - 316 p.

Source: Dissertations Abstracts International, Volume: 82-01, Section: A.

Thesis (Ph.D.)--University of Toronto (Canada), 2020.

This item must not be sold to any third party vendors.

That mid-to-late nineteenth-century chromatic tonality challenges diatonic-based prolongational models of tonality is a well-known assertion. Recently, the field has embraced alternative frameworks, especially neo-Riemannian and transformational approaches, to account for coherence in the works of composers such as Richard Wagner or Richard Strauss. These approaches, however, only occasionally capture the extent to which this repertoire exhibits the prolongational procedures operative in classical tonality despite the unfamiliarity of the chromatic syntax.My dissertation investigates how this chromatic syntax can be approached as an extension of familiar diatonic models. My broader theoretic basis involves recognizing a proliferation of harmonic polysemy, whereby chords that have commonplace sonorities do not function in ways traditionally associated with that sonority. To account for this disjunction, I develop a model of Functional Interval Progressions (FIPs), which proposes dominant function is a product not of sonority, nor an isolated leading tone, but rather a combination of a univalent dissonance (a tritone or diminished seventh) combined with its conventional resolution: in short, I suggest function is a product of motion. I apply this principle in various ways. Firstly, I postulate the possibility of chromatically altered diminished-seventh chords: these chords often have the sonority of commonplace tonal chords, such as dominant or half-diminished sevenths, but their behaviour is more consistent with diminished-seventh chords. The presence and resolution of a diminished-seventh interval, I posit, overwrites the centrifugal nature of the chromatic alteration. I then export this principle to triads, arguing that a similar half-enharmonic reinterpretation can explain what Lorenz (1933) refers to as apparent consonances. Contrary to Cohn (2004/2012), I view these triads then as tonal dissonances, rather than as acoustic consonances. Lastly, I argue for a contextual remodeling of chordal inversion, following Schenker's (1922) notion of "the roothood-tendency of the lowest tone," suggesting that in certain cases inverted chords project the function of their bass, rather than their root. I conclude by applying these principles to larger-scale analysis, proposing that through a more thorough understanding of the surface-level harmonic syntax, deeper-level prolongations- and their relationships to one another-can be adduced with greater certainty and clarity in highly chromatic music.

ISBN: 9798662389007Subjects--Topical Terms:

547155
Music theory.
Subjects--Index Terms:

Analysis

Harmonic Function in the Late Nineteenth-century Chromatic Tonality of Wagner and Strauss: A Study of Extensions to Classical Prolongational Practices.
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500 $a Advisor: McClelland, Ryan.
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520 $a That mid-to-late nineteenth-century chromatic tonality challenges diatonic-based prolongational models of tonality is a well-known assertion. Recently, the field has embraced alternative frameworks, especially neo-Riemannian and transformational approaches, to account for coherence in the works of composers such as Richard Wagner or Richard Strauss. These approaches, however, only occasionally capture the extent to which this repertoire exhibits the prolongational procedures operative in classical tonality despite the unfamiliarity of the chromatic syntax.My dissertation investigates how this chromatic syntax can be approached as an extension of familiar diatonic models. My broader theoretic basis involves recognizing a proliferation of harmonic polysemy, whereby chords that have commonplace sonorities do not function in ways traditionally associated with that sonority. To account for this disjunction, I develop a model of Functional Interval Progressions (FIPs), which proposes dominant function is a product not of sonority, nor an isolated leading tone, but rather a combination of a univalent dissonance (a tritone or diminished seventh) combined with its conventional resolution: in short, I suggest function is a product of motion. I apply this principle in various ways. Firstly, I postulate the possibility of chromatically altered diminished-seventh chords: these chords often have the sonority of commonplace tonal chords, such as dominant or half-diminished sevenths, but their behaviour is more consistent with diminished-seventh chords. The presence and resolution of a diminished-seventh interval, I posit, overwrites the centrifugal nature of the chromatic alteration. I then export this principle to triads, arguing that a similar half-enharmonic reinterpretation can explain what Lorenz (1933) refers to as apparent consonances. Contrary to Cohn (2004/2012), I view these triads then as tonal dissonances, rather than as acoustic consonances. Lastly, I argue for a contextual remodeling of chordal inversion, following Schenker's (1922) notion of "the roothood-tendency of the lowest tone," suggesting that in certain cases inverted chords project the function of their bass, rather than their root. I conclude by applying these principles to larger-scale analysis, proposing that through a more thorough understanding of the surface-level harmonic syntax, deeper-level prolongations- and their relationships to one another-can be adduced with greater certainty and clarity in highly chromatic music.
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