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A Synthesis of Schenkerian and Neo-Riemannian Theories: the First Movement of Paul Hindemith’S Piano Sonata No

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A Synthesis of Schenkerian And Neo-Riemannian Theories: The First Movement Of Paul Hindemith’s Piano Sonata No. 1 As A Case Study Yvonne Teo Submitted in total fulfilment of the requirements for the degree of Master of Music June 2017 Melbourne Conservatorium of Music Faculty of the VCA & MCM University of Melbourne Abstract This thesis explores the possibility of synthesising some aspects of Schenkerian and Neo-Riemannian theories and seeks to demonstrate the effectiveness of this approach in the analysis of a twentieth-century sonata. Although this study begins with a thorough understanding of Neo-Riemannian theory (NRT), the final hybrid method is not a strict application of NRT, employing its core principles rather than its specific method. Paul Hindemith’s Piano Sonata No. 1 is selected for this study as this work contains vestiges of tonic-dominant tonality (inviting Schenkerian analysis) but also employs a non-traditional post-tonal harmonic structure (inviting a NRT approach). The Schenkerian method has been long recognised as a useful tool to analyse primarily tonal repertoire whereas Neo- Riemannian theory is useful in analysing the heavily chromatic harmony of the nineteenth century. A hybrid analytical method encompassing aspects of the two approaches is designed to potentially strike a balance between a subjective and objective understanding of the music. A chart is designed with three systems: the Urlinie, pitch collections, and the Bassbrechung. Different sets of data are obtained to describe the transformation from one chord (or more loosely, “pitch collection”) to the next. In calculating these movements between the pitch collections, this NRT-inspired approach will substitute for a traditional harmonic analysis. The synthesis of the two theories will be illustrated through a line graph that charts the amount of intervallic movement between pitch collections against the Urlinie to observe the relationships between the two. Findings indicate that graphical representations deepen our understanding of the connections between one chord and the next through common tones, and furthermore, accommodate all types of chords and not just major and minor triads. Additional notes can then be added to the Urlinie as a result of the identification of significant movements in the graph. The synthesis of these two methods when combined with an analysis of performance recordings will allow a deeper understanding of Hindemith’s Piano Sonata to emerge. This suggests the importance of adopting this hybrid method in approaching Neo-Classical works and indicates how this approach might shape the performer’s interpretation. Therefore, this research can be seen to contribute to the formation of a bridge between music theory and performance. i University of Melbourne Faculty of the VCA & MCM Melbourne Conservatorium of Music This is to certify that: (i) the thesis comprises only my original work towards the MMus; (ii) due acknowledgement has been made in the text towards all other material used; (iii) the thesis is fewer than 50,000 words in length, exclusive of tables, maps, bibliographies and appendices Signature: Name: Yvonne Teo Date: 15 June 2017 ii Acknowledgements Undertaking a Master of Music has been such a rewarding experience and it would not have been possible to do without the support and guidance from many people in both my academic and personal lives. First and foremost, I would like to extend my sincerest appreciation to my principal supervisor, Dr. Martin Greet. Words cannot express how grateful I am for Martin’s time, guidance, patience and enthusiasm throughout my candidature. His expert knowledge and scholarship has always been a source of inspiration, further igniting my passion in music analysis. Not only did he read countless drafts, but he consistently provided me with insightful and enlightening feedback and I am greatly indebted to him. One simply could not wish for a better or friendlier supervisor. I would also like to thank my secondary supervisor, Dr. Erin Helyard. Erin’s experience as a performer and passion as a scholar have played a crucial role in stimulating my interest in attempting to create a meaningful dialogue between analysis and performance. I am very grateful to have him on the supervisory team, to gain from his insights and from his advice during the writing process. During my candidature, I have been very privileged to be able to carry out this project with the assistance of the Research Training Program (RTP) Scholarship. A special thank you to the University of Melbourne and the Australian Commonwealth Government for providing me with the funding to undertake this study. Finally, I would like to thank my parents and friends for their unwavering support, their love and encouragement. Their names and contributions are too numerous to list here but I am very grateful to them all. Thank you in particular to Candice Basterfield, Rachel Blacow, Anita Leung and Imogen Telfer, who have shared this journey closely with me, offered their endless support, good-humour and love. However, special thanks to Megan Murray for offering many helpful suggestions and taking the time to proofread my work. iii Table of Contents Abstract i Acknowledgments iii List of Figures vii List of Examples viii List of Tables ix List of Analytical Charts xi List of Analytical Tables xiii CHAPTER ONE: Background 1 1.1 Introduction 1 1.2 Paul Hindemith 3 1.3 Existing Studies 6 CHAPTER TWO: Schenker, NRT and Extended Tonality 9 2.1 Schenkerian Method 9 2.1.1 Strengths and Limitations 10 2.2 Neo-Riemannian Theory 12 2.3 Integration of NRT and Schenkerian Methods 14 2.4 Expansion of NRT and Schenkerian Methods 18 CHAPTER THREE: Analysis and Performance 22 3.1 Approaches to Analysis and Performance 22 3.2 Schenker and Performance 24 3.3 A Schenkerian/Formenlehre Approach? 25 3.4 A “Performative” Approach 27 3.5 Moving Past Formal Analyses 30 3.6 Performance Recordings of Hindemith’s Piano Sonata No. 1 33 CHAPTER FOUR: Analytical Method 35 4.1 The Craft of Musical Composition 35 4.2 Rhythmic Reduction and Segmentation 36 4.3 Voice-Leading and Intervallic Movement 39 4.4 Visual Representations 41 4.4.1 Schenkerian and NRT chart 41 4.4.2 Intervallic Movement Graphs 43 4.4.3 Relationships between the Urlinie and the Data Points 43 4.4.4 Mean, Median and Mode 44 iv CHAPTER FIVE: Application of the Analytical Method Part I: Preliminary Schenkerian Analysis 46 5.1 Application 5.1.1 Whole Sonata 47 5.1.2 1st movement 47 5.1.3 2nd movement 50 5.1.4 3rd movement 50 5.1.5 4th movement 51 5.1.6 5th movement 52 5.2 Discussion 53 5.3 Strengths and Limitations 62 CHAPTER SIX: Application of the Analytical Method Part II: Segmentation (First Movement) 64 6.1 Application 65 6.2 Discussion 75 CHAPTER SEVEN: Application of the Analytical Method Part III: NRT-Inspired Voice-Leading Data - Completing the Schenkerian Chart 99 7.1 Bars 1 to 10 103 7.1.1 Discussion (Bars 1 to 10) 107 7.2 Bars 11 to 22 113 7.2.1 Discussion (Bars 11 to 21) 117 7.2.2 Additions to the Urlinie (Bars 11 to 21) 121 7.3 Bars 22 to 26 123 7.3.1 Discussion (Bars 22 to 26) 127 7.3.2 Additions to the Urlinie (Bars 22 to 26) 128 7.4 Bars 26 to 32 130 7.4.1 Discussion (Bars 26 to 32) 134 7.4.2 Additions to the Urlinie (Bars 26 to 32) 139 7.5 Bars 33 to 37 143 7.5.1 Discussion (Bars 33 to 37) 147 7.6 Bars 37 to 51 152 7.6.1 Discussion (Bars 37 to 51) 156 v CHAPTER EIGHT: Application of the Analytical Method Part IV: Beyond Schenker and Further Observations 159 8.1 Data Collection 160 8.1.1 Statistics and Frequency of Voice-Leading Movement - Minim Subdivision 160 8.1.2 Statistics and Frequency of Voice-Leading Movement - Crotchet Subdivision 163 8.2 Discussion 175 8.2.1 Data Obtained from Minim Subdivision 175 8.2.1.1 Voice Leading Movement 175 8.2.1.2 Intervallic Movement between Each Chord and its Basic Interval Pattern (BiP) 175 8.2.2 Data Obtained from Crotchet Subdivision 181 8.2.2.1 Voice Leading Movement 181 8.2.2.2 Intervallic Movement between Each Chord and its Basic Interval Pattern (BiP) 182 CHAPTER NINE: Towards A New Model of Analysis for Neo-Classical Music 192 BIBLIOGRAPHY 198 APPENDIX 211 Appendix A1.1 Hindemith, Piano Sonata No. 1, bars 1 to 24. 211 Appendix A1.2 Hindemith, Piano Sonata No. 1, bars 25 to 51. 212 vi List of Figures Figure 2.1 “Traditional” and “Total” Views of Voice Leadings from Chord X to Chord Y. Figure 4.1 Calculating the Intervals Between Two Sets of Pitch Collections. Figure 4.2 An Example of a Modified Schenkerian and NRT Chart. Figure 6.1 Identifying the Melodic Features in Bars 1 to 4. Figure 6.2 3-note Step Progression (SP) in Bar 4. Figure 6.3 Observing the Cadence in Bar 2. Figure 6.4 Further Observations in Bars 3 and 4. Figure 6.5 Horizontal Connections in Bars 5 and 6. Figure 6.6 Uncovering the Larger Connections in Bars 2 to 10. Figure 6.7 Step Progressions and Rhythmic Reduction in Bars 5 to 9. Figure 6.8 Identifying the Melodic Ideas in Bars 11 to 16. Figure 6.9 Step Progressions and Rhythmic Reduction in Bars 11 to 16. Figure 6.10 Identifying the Two Phrases in Bars 17 to 22. Figure 6.11 Step Progressions and Rhythmic Reduction in Bars 17 to 22.
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