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Information to Users INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 9401223 Harmonic tonality in the theories of Jerome-Joseph Momigny Caldwell, Glenn Gerald, Ph.D. The Ohio State University, 1993 UMI 300 N. Zeeb Rd. Ann Arbor, MI 48106 HARMONIC TONALITY IN THE THEORIES OF JEROME-JOSEPH MOMIGNY DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Glenn Gerald Caldwell, B.S., Ed.M., M.A. The Ohio State University 1993 Dissertation Committee: Approved By Burdette Green Thomas Heck Adviser Gregory Proctor School of Music To the Memory of My Loving Parents Bernard Alvin Caldwell and Thelma Currence Caldwell ACKNOWLEDGEMENTS I express sincere appreciation to Dr. Burdette Green for his guidance, patience, and insight throughout the research. Thanks go to Dr. Thomas Heck for his help in attaining several important sources needed for this study. Thanks is also extended to Dr. Gregory Proctor for his input not only in this study but also in my Master's thesis. Gratitude is expressed to Dr. Martine Motard-Noar and Dr. Margaret Boudreaux, Western Maryland College, for their assistance and support. To my brother, Bernard, I thank you for your constant coaching and faith in me. To my wife, Denise, I offer sincere thanks for your willingness to endure the tough times. To God and my parents, I thank you for everything. VITA April 18,1958 ......................................................................Born - Gastonia, North Carolina 1980 ....................................................................................B.S., North Carolina A&T State University, Greensboro, North Carolina 198 1 ....................................................................................Ed.M., Rutgers University, College of Education, New Brunswick, New Jersey 1981-1983 ...........................................................................Instrumental Music Director, Mullins High School, Mullins, South Carolina 1985 .................................................................................... M.A., School of Music, Ohio State University, Columbus, Ohio 1991-Present ......................................................................Lecturer/Music Theory, Western Maryland College, Westminster, Maryland FIELDS OF STUDY Major Field: Music iv TABLE OF CONTENTS DEDICATION............................................................................................ ii ACKNOWLEDGMENTS.......................................................................... in VITA .................................................................................................................. iv LIST OF T A B L E S .......................................................................................... viii LIST OF FIGURES .......................................................................................... ix INTRODUCTION............................................................................................... 1 Momigny: A Brief Biography ................................................................. 1 Momigny's Theoretical W ritings ............................................................. 3 A Review of Research on M om igny .......................................................... 6 Problematic Terms ........................................................ 11 CHAPTER PAGE I. THE GRAND MUSICAL SYSTEM............................................. 15 The Diatonic G e n u s .................................................................................... 15 The Chromatic and Enharmonic Genera ............................................ 24 The Minor M o d e ............................................................................ 28 The Tonal H ierarchy ................................................................................. 31 Sum m ary.................................................................................................. 34 v II. DIATONIC HARMONY 35 Chord Structures ....................................................................... 36 The Hierarchy of Diatonic Chords ................................................ 49 Key and Harmonic Cadences ........................................................... 50 On the Basse fondamentale .............................................................53 The Rules of Voice L eading ............................................................57 Nonchord T ones ............................................................................. 72 S um m ary...................................................................................... 89 III. CHROMATIC HARMONY ........................................................... 94 The Alteration of Diatonic Dyads and T ria d s ...............................95 The Alteration of Diatonic Seventh C hords ........................... 102 The Resolution of Diatonic and Secondary Dominant Chords. 107 Borrowed C h o rd s........................................................................ 116 The Resolution of the Augmented Fifth C h o rd ...................... 117 The Resolution of Common-Tone Diminished Seventh Chords . 118 The Resolution of Augmented Sixth and Neapolitan Sixth Chords. 119 Momigny's Analysis of Altered Chords in Excerpts from Two Musical W o r k s ................................................................................ 122 S um m ary........................................................................................ 137 IV. MODULATION ........................................................................................ 140 Momigny's Definitions .................................................................... 141 Transitions ..............................................................................................149 Momigny's Analysis of Modulations In Musical Works .... 163 S u m m a ry......................................................................................... 174 vi V. MOMIGNY'S BROADER VIEW OF TONALITY ......................... 176 On the Relationship of K eys ....................................................... 176 The "Morceau" and the Application of Unity and Variety . 181 Sum m ary...................................................................................... 185 VI. PERSPECTIVES .................................................................................. 187 CONCLUSION ......................................................................................... 196 SOURCE WRITINGS BY M OM IGNY ........................................... 207 SECONDARY LITERA TURE ON M O M I G N Y ................................208 GENERAL REFERENCES .......................................................................210 LIST OF TABLES TA BLE PAGE 1. De la Resonance du Corps Sonore ............................................... 17 2. Consonances in the key of C m ajor .......................................... 38 3. Dissonances in the key of C m ajor ............................................... 39 4. Dyads admissible in C m a jo r ......................................................... 96 5. Altered dyads, triads, and sevenths involving C and C# . 97 6. The alteration of diatonic triads by tones borrowed from the chromatic genus in C m a jo r ............................................. 99 7. Species of the augmented sixth ch o rd ................................................. 100 8. Additional seventh chord types created by the chromatic g e n u s .............................................................................................. 103 9. Chromatic alterations of chords in C m in o r ................................. 106 10. Momigny's examples of borrowed chords ................................. 117 11. Intervals not admitted in harm ony .............................................. 118 12. Momigny's examples of #ii° and #vi° chords ............................ 119 13. Forty-nine harmonic thirds in C m ajo r .......................................... 121 14. Momigny's analysis of the melodic resolutions and their
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