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THE HARMONIC IMPLICATIONS of the NON-HARMONIC TONES in the FOUR-PART CHORALES of JOHANN SEBASTIAN BACH by Timothy Judson Willingham Liberty University

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THE HARMONIC IMPLICATIONS of the NON-HARMONIC TONES in the FOUR-PART CHORALES of JOHANN SEBASTIAN BACH by Timothy Judson Willingham Liberty University THE HARMONIC IMPLICATIONS OF THE NON-HARMONIC TONES IN THE FOUR-PART CHORALES OF JOHANN SEBASTIAN BACH by Timothy Judson Willingham Liberty University A Dissertation Presented in Partial Fulfillment Of the Requirements for the Degree Doctor of Education Liberty University May, 2013 1 The harmonic implications of the non-harmonic tones in the four-part chorales of Johann Sebastian Bach by Timothy Judson Willingham A Dissertation Presented in Partial Fulfillment Of the Requirements for the Degree Doctor of Education Liberty University, Lynchburg, VA May, 2013 APPROVED BY: Mark Angle, Ed.D., Committee Chair Samuel Wellman, D.M., Committee Member Mark Smith, Ed.D., Committee Member Scott Watson, Ph.D., Associate Dean, Advanced Programs 2 ABSTRACT This study sought to identify the harmonic implications of the non-harmonic tones in the four-part chorales of Johann Sebastian Bach and to identify if the implications were modern, extended harmonies. The study examined if non-harmonic tones implied traditional or extended harmonies more often, which non-harmonic tones more frequently implied extended harmonies, and which chords typically preceded implied extended harmonies. The study was a corpus analysis of the four-part chorales. The data collected was organized in and analyzed with frequency charts and a chi-square goodness of fit test and chi-square tests of independence from the chordal analysis conducted by the researcher. Harmonic implications of extended harmonies not only exist in the chorales but are also nearly as plentiful as implications of seventh chords. A single non-harmonic tone is most likely to produce an implication of an extended harmony and triads are most likely to precede an extended harmony. Descriptors: corpus analysis, non-harmonic tones, harmonic implications, chordal analysis, Bach chorales 3 Dedication/Acknowledgments Pages I would like to thank and dedicate this project to my lovely and gracious wife Jennifer, for her patience, understanding, and support through this project. I would like to thank Dr. Mark Angle for his patient guidance through this project. I would like to thank Dr. Amanda Szapkiw, Dr. Samuel Wellman, and Dr. Mark Smith for their valuable input. I would also like to thank James McDonald for his aid in editing the various drafts. I would like to thank Ben Lane for his guidance in the computation of the statistics. I would like to thank Dr. Frank Garlock for the inspiration to do this research. 4 Table of Contents CHAPTER ONE: INTRODUCTION .............................................................................. 11 Introduction ................................................................................................................... 11 Background ................................................................................................................... 11 Problem Statement ........................................................................................................ 15 Purpose Statement ......................................................................................................... 16 Significance of the Study .............................................................................................. 17 Research Questions and Hypotheses ............................................................................. 17 Identification of Variables ............................................................................................. 19 Definitions ..................................................................................................................... 20 Research Summary ........................................................................................................ 24 Assumptions and Limitations ........................................................................................ 25 Assumptions .............................................................................................................. 25 Limitations ................................................................................................................. 26 CHAPTER TWO: REVIEW OF THE LITERATURE ................................................... 27 Introduction ................................................................................................................... 27 Theoretical Framework ................................................................................................. 28 Review of the Literature ................................................................................................ 33 Types of common practice period harmonies. ........................................................... 33 Types of non-harmonic tones. ................................................................................... 34 Types of extended harmonies. ................................................................................... 38 Chordal analysis. ....................................................................................................... 41 Schoenberg and his denial of the existence of non-harmonic tones. ......................... 51 Corpus analysis of music. .......................................................................................... 53 Corpus analysis contrasted with content analysis...................................................... 63 Summary ....................................................................................................................... 69 CHAPTER THREE: METHODOLOGY ........................................................................ 70 Introduction ................................................................................................................... 70 Design............................................................................................................................ 70 Research Questions and Hypotheses ............................................................................. 71 Sample Choice ............................................................................................................... 72 5 Methodology and Instrumentation ................................................................................ 73 Procedures ..................................................................................................................... 75 Data Analysis ................................................................................................................ 78 CHAPTER FOUR: RESULTS ........................................................................................ 84 Introduction ................................................................................................................... 84 Confirmation of Sole Researcher .................................................................................. 84 Research Question 1 ...................................................................................................... 85 Research Question 2 ...................................................................................................... 86 Research Question 3 ...................................................................................................... 88 Conclusion ..................................................................................................................... 90 CHAPTER FIVE: DISCUSSION .................................................................................... 91 Introduction ................................................................................................................... 91 Research Questions and Hypotheses ............................................................................. 91 Review of Methodology ................................................................................................ 92 Review of Results.......................................................................................................... 95 Research Limitations ..................................................................................................... 97 Discussion ..................................................................................................................... 99 Implications for Practice ............................................................................................. 106 Theoretical Implications .............................................................................................. 109 Further Study ............................................................................................................... 110 Conclusion ................................................................................................................... 113 REFERENCES ............................................................................................................... 115 APPENDIX A: CHORD SYMBOLS ............................................................................. 129 APPENDIX B: NON-HARMONIC TONES ................................................................. 133 APPENDIX C: DETAILED HARMONIC IMPLICATION COUNTS ........................ 135 APPENDIX D: HARMONIC IMPLICATIONS AND NON-HARMONIC TONES ... 138 APPENDIX E: HARMONIC IMPLICATIONS AND PRECEDING HARMONIES .. 171 6 List of Tables Table 1: Chart of Chord Category Totals from Quinn. .................................................... 80 Table 2: Frequency Chart of Observed n, Expected n, and Residual by Chord Category86 Table 3: Cross Tabulation Table of Extended Harmonies and Triads by the Type of Non- Harmonic Tones
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