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Riitta Rautio Fortspinnungstypus Revisited

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Riitta Rautio Fortspinnungstypus Revisited Copyright © , by University of Jyväskylä ABSTRACT Rautio, Riitta Fortspinnungstypus Revisited. Schemata and Prototypical Features in J. S. Bach’s Minor-Key Cantata Aria Introductions Jyväskylä: University of Jyväskylä, 2004, 238 p. (Jyväskylä Studies in Humanities ISSN 1459-4331; 12) ISBN 951-39-1714-2 Finnish summary Diss. The object of study was the Fortspinnungstypus, a concept introduced in 1915 by Wilhelm Fischer to describe small-scale forms, especially those of the Baroque period. The aim of the study was to explore whether a more detailed description of the Fortspinnungstypus can be given in a homogenous corpus of examples. The theoretical background consisted of the theory of formal functions (Ratz, Caplin), cognitive schema theory (Schank & Abelson, Rumelhart; Meyer, Gjerdingen), the prototype theory of concepts (Rosch), and the theory of metaphor (Lakoff, Johnson). The material consisted of J. S. Bach’s minor-key cantata aria introductions (N=125) fulfilling Fischer’s definition of the Fortspinnungstypus. The objective was three-fold: (1) to give a description for the schema of formal functions of the Fortspinnungstypus by detecting frequently occurring structural features on several levels of abstraction; (2) to identify the prototypical features of the schema on various structural levels; (3) to explore the structure of the Fortspinnungstypus schema in terms of plot metaphor. The method used was reduction analysis (Meyer), quantitative feature analysis, and qualitative- interpretative analysis of selected examples, respectively. The results showed that Bach’s aria introductions tens to follow a schema of five formal functions: beginning, digression (cadence), sequence, bridge, epilog (ending). For each function 7-11 two-part harmonic-contrapuntal scripts could be identified. A prototype for the Fortspinnungstypus schema could be formulated only on a higher level of abstraction (harmonic functions, chord degrees). The dramatic curve of the Fortspinnungstypus was found to contain exposition, conflict, complication, climax, process reversal (peripeteia), and denouement. In harmonic terms, the dramatic functions corresponded to the formal functions. However, the development of the dramatic events on the motivic level didn’t necessarily follow the schema of formal functions in a consistent way. The results suggest that in his cantata aria introductions Bach used to follow an overall schema, which regulated not only the choice of structural elements but also to some extent their semantic-expressive content. Key words: Fortspinnungstypus, formal function, schema theory, prototype theory, image schema, metaphor, musical plot Author’s address Riitta Rautio Department of Music University of Jyväskylä, Finland Author’s Email [email protected] Supervisors Professor Matti Vainio Department of Music University of Jyväskylä, Finland Reviewers Professor Robert Gjerdingen School of Music Northwestern University, Evanston IL USA Professor Anne Sivuoja-Gunaratnam School of Art, Literature and Music University of Turku Opponent Professor Anne Sivuoja-Gunaratnam School of Art, Literature and Music University of Turku FOREWORD The present study brings together many areas of interest, which have occupied me more or less intensively for several years. In my earlier studies I had dealt with cognitive issues, such as theories of cognitive schemata, theories of concepts, and the temporal experience of music. These theoretical approaches found their way also to this study, which tackles the problem of musical form from a cognitive perspective. I found the cognitive approach appealing because it is able to acknowledge the relationship between musical knowledge and knowledge concerning other domains, such as language. From the cognitive point of view there are no grounds to isolate music from other areas of human experience and knowledge. Thus, the distinction between attributes “musical” and “extramusical” becomes, I think, more or less artificial. One of the motivations behind this study was, indeed, my interest to explore the role of concepts borrowed from “extramusical” domains in the description of music-theoretical concepts. I grew up surrounded by Bach’s music, which in a way became my first “foreign language”. Maybe this is the reason why I have always found Bach’s music as narrating. The Fortspinnungstypus has always fascinated me because it seems to capture the dynamic and processive aspect of music better than many other formal types. As such it offers a challenge to any attempts to define it. The research process was quite laborious not the least because of the large corpus of material, the analysis of which had to be performed manually in the lack of sufficiently developed computer programs. Carrying through a process of this magnitude in addition to the daily duties as a teacher became a more challenging struggle than I was able to anticipate. During a nearly six-year period of more or less intensive research work I have got support from many quarters. I would like to thank the Faculty of Humanities and the Department of Music at the University of Jyväskylä, for supporting my research in the form of scholarships, which have made it possible for me to work as a full-time researcher. These altogether three months have been quite decisive for the progress of the research. I am also grateful to Professor Matti Vainio and Professor Jukka Louhivuori who as the heads of the Department of Music have significantly improved my facilities to do research also while working as a full-time teacher. I would also like to thank Professor Vainio for accepting this study in the series Jyväskylä Studies in Humanities. I am deeply indebted to Professor Robert O. Gjerdingen and Professor Anne Sivuoja-Gunaratnam who as the preliminary evaluators of my thesis read the manuscript. Their valuable and perceptive comments helped me to improve the study in many ways. Professor Gjerdingen kindly gave at my disposal the manuscript of his book in progress, which provided important insights for my study. During the research process several researchers of musical cognition have given me encouragement and critique. I am indebted to Professor Carol Krumhansl for the enlightening conversations during her stay in Jyväskylä. In addition, the feedback I received in the Conference on Musical Imagery in Oslo 1999 helped me to sharpen the focus of my project. I also want to express my warmest thanks to my colleagues at the Department of Music for their support during the process. I am especially grateful to librarian Hannele Saari for her indispensable help in acquiring scores and other material for my study. For lecturer Jouni Koskimäki I feel indebted for his help in my struggle with notation software. I wish to express my gratitude to Hannes Juutilainen for helping me to overcome the technical problems I encountered when editing my text. I also remember warmly all my pupils who with their fresh ideas and critical comments have made me re- evaluate my conceptions over and over again. Finally, I would like to express my gratitude to my family and friends for giving support and encouragement. My deepest gratitude belongs to my husband Yrjö, who empathically shared with me all the many ups and downs during this process. He also gave me valuable help as a proofreader of my text in the final stages of the process. My most humble thanks go, however, to my son Lauri, who took with patience and bravery my continuous preoccupation with work. I dedicate this book to the memory of my father. His gift to see beyond the seemingly self-evident has inspired me greatly in my scholarly work Jyväskylä, 8 January 2004 Riitta Rautio CONTENTS 1INTRODUCTION................................................................................................11 2 FORTSPINNUNGSTYPUS AND RELATED FORMS .....................................15 2.1 Wilhelm Fischer’s Fortspinnungstypus....................................................15 2.2 Related forms.............................................................................................20 2.2.1 Arnold Schoenberg’s Satz form .....................................................20 2.2.2 William Caplin’s sentence form .....................................................23 2.3 Summary of the features of Fortspinnungstypus and related forms .24 2.4 Recent studies on the Fortspinnungstypus .............................................26 2.5 Essential differences between period and sentence ............................28 2.5.1 Temporal considerations.................................................................29 2.5.2 Spatial considerations ......................................................................31 3 FUNCTIONAL FORM........................................................................................34 3.1 Conceptual distinctions.............................................................................34 3.1.1 Formal and functional views of form ...........................................35 3.1.2 Schematic view of form...................................................................36 3.2 The beginning-middle-end paradigm ....................................................37 3.2.1 Conceptualization of musical form in Baroque music theory...37 3.2.2 Harmonic progressions...................................................................40 3.3 Theories of musical form as a chain of formal functions.....................41 3.3.1 Erwin Ratz’s Urform of musical forms...........................................42 3.3.2 Wallace
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