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Basic Concepts and Principles in Modern Musical Analysis

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Basic Concepts and Principles in Modern Musical Analysis Bulletin of the Transilvania University of Bra şov Series VIII: Art • Sport • Vol. 4 (53) No. 1 – 2011 BASIC CONCEPTS AND PRINCIPLES IN MODERN MUSICAL ANALYSIS. A SCHENKERIAN APPROACH A. PREDA-ULITA 1 Abstract: This subject is fascinating through the interpretive possibilities that it opens. The accurate understanding and practice of Schenker’s theories leads to a different perception of the music and to a natural way of performing. Therefore, we consider the schenkerian analysis not only a theory, but also a comprehensive way of understanding musical works. Schenkerian analysis provides a comprehensive view of music from the small to the large representing thus a great asset to hearing understanding and performance. Key words: musical analysis, Schenker, background, middle ground, foreground, prolongation, structure 1. Introduction the long-range structure is defined Background (or fundamental structure, The schenkerian analyses are a method while the surface aspects of the music are based on the theories of Heinrich Schenker the Foreground . One can state the idea whose purpose is to disclose the structure that "the background of a musical of a tonal piece, through musical notations. composition is arrhythmic" or, "rhythm is The basic principle in the structure of a a characteristic of the musical foreground.” piece for the Schenkerian analysis is In the most common way, the purpose of showing hierarchical relationships amongst schenkerian analysis is to omit the the notes of the passage through making unessential and to emphasize the important reductions of the music and through a relations. specialized symbolic musical notation that Schenker developed to demonstrate 2. Basic concepts various techniques of prolongation. He considered that the deep, long-range There are many methods of approaching structure of a piece of music has no the schenkerian analyses. Schenker, particular rhythm, so the musical followed by Jonas, began by describing the reductions of Schenkerian analysis are essential structure of music: the triad and usually arrhythmic. Schenkerian analysis its linear unfolding through arpeggiation 1 Department of Music Performance, Transilvania University of Brasov . 48 Bulletin of the Transilvania University of Bra şov. Series VIII • Vol. 4 (53) No. 1 - 2011 and through passing and auxiliary notes, in piece, whole sections may prolong V its most abstract form. Next, they discuss (Schenker called this a “tonicization” of the the forms that these structures could have dominant) and also, there may be other in any musical context. Schenker’s harmonic sections prolonged in between the approach relies on the fundamental initial I and the V of the final perfect cadence, principles of the harmony and the bass of the fundamental structure counterpoint. Allen Forte and Steven E. appearing in many different layers of a piece. Gilbert, on the other hand, began by The bass line is only a harmonic progression showing different apparitions of the and Schenker's theory seeks to comprehend arpeggiation, passing tones, etc. at the music in terms of a two-part contrapuntal note-to-note level before showing the way structure. to use these in order to create musical Layer or level (Schicht) represents the forms of greater proportions. Other music fundamental idea of Schenkerian theory theorists, for example Felix Salzer and that music consists of a series of layers of Carl Schachter, added to and spread elaboration. Schenker suggests that simpler Schenker's ideas. By the 1960s, layers underpin the complex ones in almost Schenkerian analysis had begun to attract the way in which a variation on a theme renewed interest, and by the 1980s, it had supports the “surface” of the music. become one of the main analytical methods Background (Hintergrund) refers only used by many music theorists. to the Ursatz form that covers a whole piece or movement. In some cases, one can 2.1. Structural concepts use it to refer to the Ursatz and its immediate prolongations (like the initial Fundamental structure (Ursatz) is the ascent etc.) that are usually part of the first representative progression of which all tonal level of the middle ground. In theory, one pieces are hypothetically an elaboration that simple progression that spans the entire Schenker believed to be (along with a number piece is the foundation on which the of variants) the most basic expression of tonal composer created the entire piece. music. It consists of the descending First-level Middle ground refers to the progression from , or in the upper part immediate prolongations of the Ursatz that (Urlinie ) over a bass progression Schenker restricts to a small number of (Bassbrechung ) that emerges in the strictly defined forms. The background background as part of the fundamental sometimes refers to this level of the structure. This progression represents one of structure as elaborations. the simplest contrapuntal expressions of the I– Middle ground (Mittelgrund) is the V–I unit. Schenker described the fundamental surface layer of a piece of music, the structure as a tension span, as the tension background being the deepest layer, of introduced by the initial is not resolved until which the whole piece is understood to be the music reaches the final over the tonic. an elaboration. The middle ground has a For Schenker, this tension span was what tied variable number of occurring layers that a complex and various pieces of music into a Schenkerian analysis will identify between single coherent work of art. the foreground and background. Schenker considered that any piece of tonal Foreground (Vordergrund) is the music can be described as an elaboration of surface layer of the music. Schenker this pattern: tonal pieces generally start with I regards music in terms of layers of and the V – I epitomizes the final perfect elaboration from the profound structure to cadence of the piece. Nevertheless, in a longer the surface. A. PREDA-ULITA : Basic concepts and principles in modern musical analysis. … 49 Prolongation refers to the elaboration of Ursatz , including all the elaborations of contrapuntal structures. Schenker this pattern. The basic harmonic considered that all tonal pieces are progression appears as contrapuntally therefore, a prolongation of the Ursatz . elaborated, normally creating harmonic The concept of prolongation lies at the patterns such as I-III-V-I or I-II-V-I. foundation of Schenker’s theory and is the Diminution refers to the embellishment most influential element of it. Using the of simpler musical structures beneath the basic principles of consonance and surface of the music and describes the dissonance from species counterpoint, process of linear units prolonging Schenker identifies a number of common harmonic ones. The process of analysis is linear units that he calls diminutions. partly one of looking ‘behind’ the surface Because diminutions must prolong a diminutions, but Schenker was more harmonic unit in Schenker's theory, only a interested in a process of generation from note that is consonant with the prevailing background to foreground (composing- harmony can generate a diminution. out). Schenker used the basic principles of Prolongation is an extension through consonance and dissonance from species time (by an arpeggio, for example) in a counterpoint in order to identify a number piece of music of a harmonic unit (a chord of common linear units that he calls or a note from that chord). Schenker’s diminutions. His analyses, at their most analyses, at their simplest level, show how simple level, show how these linear units linear units prolong harmonic units. prolong harmonic units. A theme and Tonicization is the Schenkerian term for variations is a very good example of modulation. The use of this term highlights diminution, because in this genre, the the fact that a tonal piece corresponds to a theme supports increasingly complex contrapuntal realization of the tonic. figurations. Each variation is different but the presence of the theme beneath the 2.2. Melodic concepts surface of the music unifies the whole work. Fundamental descent (Urlinie) is the Arpeggiation ( Brechung ) is a simple top line of the two-part Ursatz , comprising elaboration that consists of notes a note by note descent from , or to . consonant with the prolonged harmony. It The term reflects Schenker's belief that this is a single movement through notes from a archetypal descending motion underlines harmony, in the same direction, prolonging all tonal pieces. a harmonic unit by arpeggiating the notes Primary tone (Kopfton) is the first note of the triad. An arpeggiation can only of the Urlinie (meaning the , or ). prolong a triad with the exception of the Finding the correct primary tone is an dominant seventh chord. This chord is important aspect as it can make a universal in tonal music that in many considerable difference to the rest of an situations it makes sense to treat it as a analysis. If the Urlinie appears is elaborated consonant sonority like the triad. In of an initial ascent, the Kopfton will not be Schenkerian analysis, diminutions usually found right at the beginning of the piece. prolong a harmonic unit and a particular Bass Arpeggiatio n (Bassbrechung) note from that unit. In the arpeggiation literally translates as ‘breaking of the (where all the notes belong to the triad), bass’, but is more often referred to as the just context could enlighten the main note bass arpeggiation. The Bassbrechung is the that is being prolonged, although I-V-I that support the Urlinie as part of the diminutions are always a prolongation of 50 Bulletin of the Transilvania University of Bra şov. Series VIII • Vol. 4 (53) No. 1 - 2011 either their first or last note. The Mixture ( Mischung ) is the flattening or Schenkerian model is a dynamic one - the sharpening of scale degrees, the most diminution is not static but moves either to common of which being to ♭ , which in or from a principal note.
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