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Table of contents
See also Poundie Burstein,? Unraveling Schenker?
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Muisc Theory Spectrum 27, no. A detail that Burkhart does not address is that the arrival at Haus at m. The true tonic arrives two measures later in m. The texts of both songs feature nature images that create a milieu in which the speaker moves toward a new state of being or a deepening of experience? For instance, in his discussion of dominant prolongation via the supertonic chord in?
In my discussion, the voice-leading techniques of superposition, register transfer, and voice-exchange are also interpreted as musical metaphors for action in the text. Most theoretical systems are developed to investigate instrumental music, so the analysis of song qua song is problematic because it must? Though many would agree that song is?
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With the aim of comparing attempts at defining the genre, Agawu summarizes four competing models for song: 1 the assimilation model: the words are absorbed by the music i. Agawu also cautions us to be critical of whether the composer began the creative process with the text or the music the chick and the egg dilemma : too often we assume priority on behalf of the text. This is what enables us to make connections between disparate parameters such as Schenkerian analytical techniques and poetic text and is nearly unavoidable in the process of interpretation: Such thinking seeks?
Ad hoc thinking sometimes unearths? Although these marriages can often seem arbitrary, arrived at by means of an uncomfortably selective process, they are of some interest on account of their putative artistic value, their rhetorical power or the degree of interpersonal resonance they achieve. Stage 1b: More formal data-gathering: use an explicit method such as a voice-leading graph to generate more data and to revise or reorganize previously collected data. Stage 1c: Preliminary interpretation 1 : develop metaphors for?
Stage 2a: Develop a contextual reading of the text. Stage 2b: Preliminary interpretation 2 : compare the results of 2a with those of 1a, 1b and 1c. Stage 3: Explicit interpretation:? The remainder of the article is a highly self-aware test-run of this approach using Schumann?
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Frauenliebe und? Leben Op. At Stage 1b, Agawu employs Schenkerian analysis as his method of choice in order to explore what kind of musical metaphors can be imagined for the text. One possibility, he shows, is to link the song? Langer52 , then song analysis must be based on a continuous musical background against which the textual content may be explored.
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However, the present study is more in the spirit of his section on Schenkerian poetics of song, in that I am seeking to explore possible ways that Schenkerian analysis can be employed in the development of musical metaphors for the text. I freely admit that any connections I may draw are ad hoc and that a different analytical system chosen at Stage 1b will necessarily restrict connections can be shown?
Essentially, I have merged elements 52 Cf. The resulting streamlined approach is practical and straightforward. My focus rests on analytical praxis; I do not engage with broader methodological concerns or meta-analysis, though a later essay might pursue such issues. This approach is meant to serve as a general guideline and is by no means exhaustive; the analyst should endeavour at all times follow his or her intuitions and investigate matters of interest as they arise. Table 1. Phase II: Analysis of the text. Phase III: Analysis of the music.
Phase IV: Compare the results of Phase II and III in order to develop ad hoc metaphors around interesting parallels between what occurs in the text and what occurs in the music. The purpose of the preliminary Phase I is to become well-acquainted with the song and the poem. In becoming aurally familiar with the song during Phase Ia, following Lewin, I take note? There can, of course, be something crippling about critically regarding every assumption and connection that an analyst wishes to make. The argument here is not that we must always spell out all our ways of knowing but that we must be ready to do so.?
Agawu, Phase Ia may therefore precede or 23 the text in the German original several times through to acquaint myself with it in Phase Ib. Next, I prepare a translation. In considering certain word choices in English, I become attuned to subtle nuances that can shade my understanding of the poem.
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In Phase II, I analyze the text. What is the rhyme scheme?
What is the poetic meter? What are the grammatical tenses, and is there a pattern to them? How is it achieved? Who are the characters in the poem and how do they interact? Are there any binary opposites that emerge from the poem? What types of imagery are present in the text? Where applicable, a Lewinian? Additionally, library research can help to verify intuitions about themes in the text. Finally, I distill my answers to questions posed at Phase IIa and b into two or three succinct statements about the poem? At this stage, I have formed a preliminary impression of what the poem means as a self-standing entity.
Phase IIIa employs traditional analytical tools that deal with form, harmony, and motive. What is the form of the song?
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Is it strophic, ternary, through-composed, or some modification of these? In conducting a traditional harmonic analysis using Roman numerals, I take note of any poignant non-chord elements appoggiaturas, neighbour succeed Phase Ib at the analyst? It is not my intention to make claims about the priority of text over music, or vice versa. The notoriety of a harmonic event is, in my experience, usually commensurate with how much time it takes to decipher a given stretch of music.
Lastly, if there are any especially salient motivic features, I make note of them. The advantage to this approach and to Schenkerian sketches in general is that it forces the analyst, ideally, to make a decision about every note in the score and its position within the hierarchy of the tonal system. In such cases, it is best to reserve judgment until after a foreground sketch has been drafted, and then compare the merits of different readings.
In preparing my graphs, I begin to take notice of matters such as how the trajectory of the Ursatz compares with the trajectory of the poem? I also highlight the specific Schenkerian techniques that my analysis uncovers. In almost all cases, within a few weeks of having drafted a preliminary sketch for a song, I will return to it and draw an entirely new graph. In comparing the new graph to the old, I am often led to new insights.
But where Agawu? See Schachter,? Structure as Foreground:? Das Drama des Ursatzes,?? If so, I develop a musical metaphor around those musical structures in keeping with the traditions outlined in the literature review section. Finally, the resonances between text and music yielded in Phase IV subsequently enable explicit interpretation of the song in Phase V. In this stage, I form a contextual interpretation of the song? The interpretation seeks to take into consideration all of the information gathered in Phases I through IV and narrativizes it following Agawu under one umbrella.
While Agawu? Lastly, I wish to state openly that my analysis seeks to make no claims about Schumann? Generally, I cannot assume that he would have read the poems? Rather, I have taken care 61 See footnote 54 above. Atonality, Analysis, and the Intentional Fallacy,? Music Theory Spectrum 18, no.
According to Haimo,? It simply asserts that features are, in some sense,? The case studies take as their subjects the songs? In so doing, I develop Schenkerian structures as musical metaphors for drama in the text. The analyses are presented in increasing order of complexity and abstractness.
Analyzing this song from a Schenkerian perspective is challenging because of tonal pairing of Bb major and G minor in the song; I address this issue from a variety of angles and argue from the standpoint of a Bb major background reading. Following in Schachter? G is expanded in the final strophe alongside a climactic outward progression in the poem. See Daverio, and The first three stanzas each have a bipartite structure, whereby a problem or concern is outlined in the first two lines, and a counterbalance appears in the next two lines to quell it. Thus, the first two lines generate tension; the next two provide release.
Table 2.