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On the Meanings of Musical Tone in Twentieth-Century Music City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2017 The Varieties of Tone Presence: On the Meanings of Musical Tone in Twentieth-Century Music Aaron Harcus The 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/2351 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] The Varieties of Tone Presence: On the Meanings of Musical Tone in Twentieth-Century Music by Aaron Harcus A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements of the degree of Doctor of Philosophy City University of New York 2017 © 2017 AARON HARCUS All Rights Reserved ii 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 Philip Lambert Chair of Examining Committee Date Norman Carey Executive Officer Supervisory Committee: Jeff Nichols, Advisor Joseph N. Straus, First Reader Philip Lambert L. Poundie Burstein THE CITY UNIVERSITY OF NEW YORK iii Abstract The Varieties of Tone Presence: On the Meanings of Musical Tone In Twentieth-Century Music By Aaron Harcus Advisor: Jeff Nichols This dissertation is about tone presence, or how musical tone shows up for experience in twentieth-century music. In exploring the subject of tone presence, I rethink notions of “pitch structure” in post-tonal theory and offer an alternative that focuses on the question of what it is to be a musical interval for experience, drawing on a wide range of research from social theory, semiotics, theories of emotion, African American studies, literary theory, usage-based linguistics, post-colonial theory, and phenomenology. I begin by offering a critique of three basic assumptions that constrain understandings of what we mean by pitch structure in post-tonal theory: that pitch structure concerns “intrinsic” properties of collections, that pitch is an autonomous parameter, and that pitch structure is best analyzed at the “neutral level.” Following this critique, I offer an alternative account of musical intervals that suggests that intervals cannot be reduced to a discrete quantity measured in semitones. I argue instead, that what it is to be an interval are all those conditions (in terms of culture, expression, musical form, motivic behavior, etc.) under which an interval becomes intelligible as such for experience. Such conditions include our concerned involvement with holistic situations and, following ideas rooted in Bakhtinian dialogism, our responsive understanding of “alien” understandings of the “same” interval. The understanding of what I describe as the modes of being of musical intervals is iv illustrated in an extended analytical case study of what it is to be an “authentic” atonal tritone in tonal and modal environments. Building on this account of the modes of being of musical intervals, I reexamine semiotic approaches to musical meaning, exemplified by topic theory, that treat musical meaning as a represented entity (i.e., a sign) that associates the “music itself” with “extramusical” meaning. Specifically, I offer an account that treats musical meaning as a social process (rather than an entity) in which cultural forms of meaning act as the ground that helps make musical tones—the “figure” in this gestalt metaphor—intelligible as such. The last chapter features an extended analysis of tone presence in Messiaen’s “Demeurer dans l’Amour” from Éclairs sur l’au-delà. v Acknowledgements First and foremost, thanks go to my advisor Jeff Nichols. He has been tremendously supportive, patient, and offered valuable feedback throughout the entire process. My first reader Joe Straus was also very supportive as I completed the dissertation. Thanks, too, go to my other committee members Phil Lambert and Poundie Burstein who offered valuable feedback on this project. Of course, any remaining mistakes are my own. I also want to acknowledge Stephen Blum, whose seminars at the Graduate Center were tremendously formative for my development as a scholar. A big shout-out to members of an ongoing reading group with my good friends at the GC: Megan Lavengood, Simon Prosser, Chris McGuinness, Daniel Fox, Tom Johnson, and Noel Torres-Rivera. The conversations we had discussing everything from Saussure, Peirce, Barthes, and Kristeva to Merleau-Ponty, Berman, Baudelaire, and Habermas (all over copious amounts of beverages!) were absolutely essential to my intellectual development and an important reminder of the joys of the learning experience outside the strictures of the seminar room. On a different note, another shout-out has to go to the music of the Wu Tang Clan, African American vernacular English, and the eighth and eleventh of Marx’s Theses on Feuerbach. Besides friends and family, these artists, dialect, and theses have been a tremendous inspiration to much of my scholarly work even if their presence is not always explicit throughout this dissertation. I also have to give great thanks to my family who have always supported me in my various endeavors and provided words of encouragement when needed: My step-mom Julie Harcus and step-brothers Jason, Alex, and Josh; my brothers Nathan, Ian, Carl, and Marcus, and my mom, Rita. Finally, I dedicate this dissertation to my father, Andrew, who passed away while vi I was finishing up my coursework. Even though, he never went to college, our conversations about politics, history, basketball, and everything else have been far more impactful on my development as a person and scholar than any course or scholarly conference that I have attended. As he would say, “Peace and Applegrease!” vii Table of Contents Abstract iv Acknowledgements vi List of Examples x List of Figures xii Chapter 1. Introduction 1 Literature Review 4 Approach and Outline 8 Chapter 2. On the Meanings of Pitch Structure in Music Theory Introduction 12 Defining Pitch Structure 20 “Intrinsic Properties” of Pitch Structure 23 Pitch as an Autonomous Parameter 27 “Neutral Level” Analysis of Pitch Structure 32 Chapter 3. The Modes of Being of Musical Intervals Introduction: Tone Presence as an Immersion in a Situation 37 Intervals as Meaning-Conferring Processes 39 Musical Situations and the “Totality of Involvements” of Intervals 57 Dialogism of Musical Intervals 68 Summary 89 Chapter 4. Case Study: “Authentic” Atonal Tritones “Authentic” Tritones and Diminished Fifths in “Tonal” Music 94 Summary 118 Conclusion 121 Chapter 5. Musical Expression and the Horizons of Tone Presence: Estrangement as Musical Topic in Twentieth-Century Music Introduction 123 Musical Meaning Between Sign and Convention 124 Assumptions of Semiotic Approaches to Musical Meaning 124 What is a Musical Signifier for Experience? 129 “Authentic” Atonal Tritone as a Cultural Unit 132 Retooling the Cultural Unit as a Background of Involvements 137 Case Study: Estrangement as Modernist Musical Topic 143 Prelude: Listening to a March vs. Hearing the “Marchness” of a March 143 Conventionalization and Correlation in Topic Theory 146 Estrangement as Modernist Musical Topic 150 Estrangement as Cultural Unit 153 Estrangement and Tone Presence in Crumb’s “Dream Images,” Makrokosmos, Book I 158 Conclusion: Topics in Discourse; Topics in Experience 160 viii Chapter 6. Tone Presence and éblouissement in Messiaen’s “Demeurer dans l’Amour” from Éclairs sur l’au-delà Introduction 163 “Abiding in Love” and Two Conceptions of Time 165 Another Conception of Tone Presence 167 Phrase Formation, Construal, and the Musical Object 181 Analysis of Period 1, Phrase 1, Measures 1-11 192 Conclusion 202 Afterword 203 Works Cited 204 ix List of Examples Example 2.1. “What is this Interval?” …...………………………………….………………….. 13 Example 2.2. Four Interpretations of the “Same” Interval ……………………………………... 15 Example 3.1. “Instances” of Registrally Ordered (RO) Interval 11 ……………………………. 43 Example 3.2. Different Chordal Contexts for ro-interval 11 …………………………………… 43 Example 3.3. Barber, Second Essay for Orchestra, measures 1-5 ……………………………… 44 Example 3.4. Holst, The Planets, “Saturn: The Bringer of Old Age,” Rehearsal VII …………. 49 Example 3.5. Messiaen, Des Canyons aux étoiles, 6. “Appel Interstellaire,” mm. 1-7 ………… 54 Example 3.6. Mingus, “Better Git Hit in Your Soul,” Live at Antibes, ca. 10:54 ……………… 66 Example 3.7. Ravel, Daphnis et Chloé, Introduction to Part 2, two before Rehearsal 89….…... 79 Example 3.8. Messiaen, Quatuor pour la fin du Temps, 4. “Intermède,” mm. 6-8 …………… 84 Example 3.9. Messiaen, Éclairs sur l’Au-Delà, VII. “Et Dieu essuiera toute larme de leurs yeux,” Messiaen’s reduction of main chorale theme …………………...………………………. 84 Example 3.10. Messiaen, Des Canyons aux etoiles, VII. “Bryce Canyon et les rochers rouge- orange,” Rehearsal 6 ……………………………………………………………………. 85 Example 4.1. Beethoven, Piano Sonata no. 8, Op. 13, second movement, mm. 1-8 ….…….…. 96 Example 4.2. Mussorgsky, Pictures at an Exhibition, 2. “Gnome,” mm. 72-82 ….……….…… 98 Example 4.3. Bartók, 14 Bagatelles, No. 9, mm. 36-37 ………….………….……….….….…. 101 Example 4.4. Debussy, Trois Chansons de Bilitis, I. “la flûte de Pan,” mm. 11-12 ….…….…. 105 Example 4.5. Sonny Rollin’s first chorus from “Blue 7” ……….….…………….….………… 109 Example 4.6. Mahler, Symphony no. 9, first movement, Figure 13 …….…………….………. 111 Example 4.7. Bartók, String Quartet No. 4, third movement, mm. 67-71 …….…………….… 116 Example 5.1. Shostakovich, Symphony no. 8, fourth movement, mm. 55-62 ………………….155 x Example 5.2. Crumb, Makrokosmos, Book I, No. 11 “Dream Images (Love-Death Music) …. 159 Example 6.1. Phrase 2 from Messiaen, Éclairs sur l’au-delà, V. “demeurer dans l’amour,” mm. 12-15 …………………………………………………………….…….………………. 168 Example 6.2. Schematic Differentiation Between Primary and Secondary Elements in CTI chords in mm. 12-15 ……………………….…………………………….…………………… 170 Example 6.3.
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