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Challenges to Classical Foreground Structures in the Music of Gustav Mahler

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Challenges to Classical Foreground Structures in the Music of Gustav Mahler City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2017 Mahlerian Tonality: Challenges to Classical Foreground Structures in the Music of Gustav Mahler Ryan Kosseff-Jones Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1919 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] MAHLERIAN TONALITY: CHALLENGES TO CLASSICAL FOREGROUND STRUCTURES IN THE MUSIC OF GUSTAV MAHLER by RYAN KOSSEFF-JONES A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2017 © 2017 RYAN KOSSEFF-JONES All Rights Reserved ii Mahlerian Tonality: Challenges to Classical Foreground Structures in the Music of Gustav Mahler by Ryan Kosseff-Jones This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. _______________ __________________________________________ Date L. Poundie Burstein Chair of Examining Committee _____________ __________________________________________ Date Norman Carey Executive Officer Supervisory Committee: William Rothstein, Advisor Joseph Straus, First Reader Poundie Burstein Kofi Agawu THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Mahlerian Tonality: Challenges to Classical Foreground Structures in the Music of Gustav Mahler by Ryan Kosseff-Jones Advisor: William Rothstein This dissertation presents a detailed study of harmony and voice leading at local levels of structure in the music of Gustav Mahler. The results are grouped into three domains: cadences, common-tone techniques, and the Mahlerian imaginary continuo. An investigation of Mahler’s cadences reveals an underlying simplicity in the diverse tonal progressions that Mahler uses to execute the tonal close of a phrase. Cadences are shown to derive from two basic types (authentic and plagal) and three basic transformations (tonic intrusion, Phrygian !, and contrapuntal bass). In a study of common-tone techniques, this dissertation proposes a new system for identifying common-tone harmonies based on their voice-leading distance from a local reference harmony (“applied displacement”). The study then demonstrates how common- tone techniques generate new harmonies/voice-leadings, modulations, and non-structural (“associative”) relationships. A final essay on the Mahlerian imaginary continuo uses the concept of the imaginary continuo to help articulate the dissolution of classical tonality in Mahler’s music. iv ACKNOWLEDGEMENTS I am deeply grateful to Bill Rothstein for working with me on this dissertation. Meeting weekly to discuss my analyses of Mahler was a great joy and it was through that opportunity that the ideas of this dissertation took shape. Bill’s analytic insightfulness, breadth of knowledge, and outstanding scholarship represent the best of what a music theorist can aspire to be. I am thankful to Joe Straus, not only for his perceptive feedback for revising this dissertation and for his seemingly effortless modeling of clarity and quality of thought, but also for his invaluable professional advisement during my time at CUNY. Poundie Burstein and Kofi Agawu have improved this dissertation through their valuable feedback, while also stimulating ideas for future research. Richard Kramer’s seminar on Mahler is where I first wrote prose on Mahler, and while the subject of this dissertation is decidedly technical, I hope it will facilitate the contemplation of compositional meaning that he has so adeptly modeled. I could not have imagined a better set of friends and peers than the ones I found at CUNY and I would like especially to thank Chris Segall, Andrew Pau, Brian Moseley, and Rachel Lumsden for their camaraderie and stimulating conversation as this dissertation was taking shape. This dissertation also was influenced by my studies at the Mannes College of Music. The commitment to, and immersion in, musical analysis that I experienced there is a constant source of inspiration. I am particularly indebted to my private theory lessons there with Carl Schachter, Robert Cuckson, and David Loeb. The last musician that I would like to acknowledge is Doug Diamond, whose generous mentorship at Grinnell College was not only deeply enriching, but also life-changing. Doug, you will be missed. v Finally, I want to thank my family for their constant support. First, the Joneses: my mom, Kathy, may never be satisfied that she understands my work, but she will always ask. My dad, Dennis, gave enough encouragement while he was here to last a lifetime. My sisters, Kristen and Andrea, have tirelessly cheered my progress. Second, the Kosseffs: Andy, Nancy, and Katie (and Jake from afar) have given invaluable support, not to mention child care. My son, Miles Kosseff- Jones, brightens every day with his irresistible enthusiasm for life. I dedicate this dissertation to my wife, Anne Kosseff-Jones, who now knows more about music theory than any untrained person should and whose inspiring mind and limitless soul make love’s growth as reasonable as it is astonishing. vi TABLE OF CONTENTS Abstract iv Acknowledgements v List of Examples ix CHAPTER 1. INTRODUCTION 1 CHAPTER 2. CADENCE IN MAHLER 8 Goals 8 Literature Review 8 Classical Theory 9 Riemannian Theory 9 Mahlerian Theory 10 Overview of Theory 15 Two Cadence Types 15 Authentic Cadence 16 Plagal Cadence 24 Three Transformations 27 Tonic Intrusion 28 Phrygian ! 38 Contrapuntal Bass 45 Combined Transformations 47 Tonic Intrusion & Contrapuntal Bass 48 Tonic Intrusion & Phrygian ! 49 Phrygian ! & Contrapuntal 50 Combination of All Three Transformations 53 Mixed Type: Authentic & Plagal 54 Principles 60 Conclusion 61 CHAPTER 3. MAHLER’S COMMON-TONE TECHNIQUES 63 Introduction 63 Common-Tone Harmony 64 Introduction 64 Consonant, Tertian Harmonies 67 Dissonant, Tertian Harmonies 73 Non-Tertian Harmonies 84 Common-Tone Modulation 90 Introduction 90 Consonant, Tertian Settings 91 Dissonant, Tertian Settings 94 Non-Tertian Settings 97 Case Study: Sixth Symphony, Andante moderato 103 vii Associative Techniques 112 Fixed-Pitch Reinterpretation 112 Ikonic Sonority 116 Tonal Pairing 136 Conclusion 143 CHAPTER 4. THE MAHLERIAN IMAGINARY CONTINUO 144 Introduction 144 The Classical Imaginary Continuo 144 Three Preliminary Distinctions 145 Elements of the Classical Imaginary Continuo 148 An Example of the Classical Imaginary Continuo in Mahler 153 The Mahlerian Imaginary Continuo 154 Harmony 154 Counterpoint 179 Increased Ambiguity (Resolvable) 183 The Dissolving Imaginary Continuo 196 “Familiarization Favors Freer Usage” 196 Harmony 198 Counterpoint 202 Increased Ambiguity (Unresolvable) 208 Conclusion 212 Bibliography 214 viii LIST OF EXAMPLES Example 1.1. Passage exhibiting a sample of melodic, harmonic, and modulatory techniques explored in this dissertation (Symphony No. 9, i, mm. 77–83) .............................................. 4 Example 2.1. Authentic cadence (five-voice models in C major and C minor) ........................... 16 Example 2.2. Harmonic progression within the dominant (Symphony No. 9, i, 40–44) ............. 20 Example 2.3. Schenker 1935 [1979 ed.], fig. 109/e6 .................................................................... 22 Example 2.4. C.P.E. Bach, Wq. 63, Sonata No. 2 in D Minor, ii, 12–15 ..................................... 22 Example 2.5. Plagal cadence (five-voice models in C major and C minor) ................................. 26 Example 2.6. Plagal Cadence. Symphony No. 7, i, 515–23 ......................................................... 27 Example 2.7. Tonic Intrusion (Auth.). Rückert-lieder, “Liebst du um Schönheit,” mm. 31–34 (score & sketch) .................................................................................................................... 29 Example 2.8. Agawu 1997, ex. 8.2 ............................................................................................... 31 Example 2.9. Tonic Intrusion (Authentic). Symphony No. 5, ii, 510–20 ..................................... 32 Example 2.10. Tonic Intrusion (Authentic). Symphony No. 5, iii, 814–end ................................ 32 Example 2.11. Monahan 2008, annotated short score of Symphony No, 3, i, 380–95 ................. 33 Example 2.12. Tonic Intrusion (Authentic Cadence). Symphony No. 2, i, 325–29 ..................... 34 Example 2.13. Analytic model for previous excerpt. ................................................................... 35 Example 2.14. Tonic Intrusion (Plagal). Symphony No. 9, iv, 162–75 ........................................ 37 Example 2.15. Phrygian ! (Authentic). Kindertotenlieder, “Nun will die Sonn’ so hell aufgeh’n,” mm. 52–59 ............................................................................................................................ 40 Example 2.16. Kindertotenlieder, “Nun will die Sonn’ so hell aufgeh’n,” mm. 58–67 ............... 42 Example 2.17. Form of “Nun will die Sonn’ so hell aufgeh’n” (strophic with an interpolation) . 43 Example 2.18. Phrygian 2 (Plagal Cadence). Symphony No. 7, i, 365–73 .................................. 44 Example 2.19. Contrapuntal (Plagal). Symphony No. 7, v, 31–45 (sketch) ................................
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