This research constitutes a detailed study of 5 - 6 voice-leading technique that is often found in music - theoretical literature and in the tonal repertoire. The study aims to prove that this technique is an essential theoretical and analytical concept for understanding the evolution of tonal music. / The first part of this study examines concepts and descriptions of 5 - 6 technique as they appear in the theoretical literature of the eigthteenth and nineteenth centuries and in the writings of Heinrich Schenker and the modern Schenkerian school. The descriptions of 5 - 6 technique in earlier conterpoint, figured-bass and harmony treatises led Schenker and his disciples to place the technique in a much broader context, though even they do not always grasp the full implications of their procedures. / In the light of William Caplin's recent theory of formal functions, (Caplin 1985; 1998), the second part of the thesis in a substantial selection of musical excerpts from the eighteenth through the early twentieth centuries, demonstrates that 5 - 6 technique as a contrapuntal analatycal concept, provides an effective model for understanding the development of chromaticism and the extension of the tonal language at multiple structural levels.

A theory of harmony plays a determinant role in the epistemology of tonal structure in music of the common practice, a fact that Schenkerian tonal theorists have long struggled to account for because of the polemical denials issued by Heinrich Schenker regarding the role that harmonic concepts derived from Rameau play in his theoretical frameworks (Schenker [1930] 2014). Attempts have been made recently to rectify the incongruity between Schenker’s uncompromisingly monist musical philosophy and the often-unspoken harmonic premises his ideas rely on (Yust 2015, 2018), but many aspects of how theories of functional harmony relate to the hierarchical structuration of musical time through prolongational processes remain undefined and underexamined. In this thesis, I fill in the lacuna of harmonic accounts in post-Schenkerian frameworks of tonal structure through Harmonic Regional Theory, which defines tonal harmonic process as a containment hierarchy of timespans. Using this framework, I outline a discovery process for properties of tonal stability (Yust 2018, 32) possessed by events and prolongational processes that understands these qualities as the product of stabilizing “forces” (Larson 2012) propagated by the structural influence harmonic-regional “fields” (Quinn 2020). The result is an epistemic model with tremendous analytical utility in both formal and informal analyses of tonal structure, the proof-of-concept for which is provided through the implementation of harmonic-regional theory in an automated analysis of tonal-melodic structure in Beethoven, op. 13, ii.

xi, 85 p. A print copy of this title is available through the UO Libraries. Search the library catalog for the location and call number. / Several of Chopin's nocturnes contain interesting chorales. This study discusses three such works-the Nocturnes in C# Minor (without opus number), A-flat Major (Op. 32, No.2), and F Minor (Op. 55, No.1). The chorales in the Nocturnes in C# Minor and A flat Major are introductory. They contribute to the work's coherence by being present in every section of their respective nocturne in multiple ways and on multiple levels of structure. The chorales in the Nocturne in F Minor also provide motivic coherence, but they appear in the middle and at the end. This study examines the function of the chorales in these three nocturnes in light of the theories of Heinrich Schenker. / Adviser: Steve Larson

碩士 / 東吳大學 / 中國文學系 / 105 / Both Literature and music display its artistry through the symbols of characters and notes. They create productions in a similar way: writers arrange characters into an article orderly; and musicians write a composition with notes consciously. This thesis examines the "Wild Grass" of Lu Xun from a musical perspective. Except introduction and conclusion, three of which chapter discuss the frame of music, the structure of music and the form of music in the "Wild Grass". First, we analyze the musicality in the text mainly from the element of rhythm and speed. We believed, secondly, the development of the text structure has same pattern with the structure of music based on the theories of polytonality and the musical analysis of Heinrich Schenker (1868–1935). It is hoped that the musical theories described in chapter three could serve another way to explore the "Wild Grass". The musical form and its logical connection could be viewed as a bridge between literature and music due to the same underlying elements of art. On the whole, reading the "Wild Grass" through music is not only can lead us into Lu Xun’s works but also broadening our reading perspective based on the extensity and gradation of music.

Thematic unity in music occurs when elements from a musical idea appear frequently, in significant places and their presence is recognized or experienced on or beneath the surface. In fugal compositions, thematic unity is evident in the opening statement of the subject and it permeates each layer of its texture. Three analytical perspectives are used to investigate the degree to which local thematic material anticipates later structural features in Johan Sebastian Bach's Fugue in G minor WTC II, and Georg Frederic Handel's Fuga II in G Major. The analytical perspectives identify: (1) cohesive relationships between motivic fragments, (2) underlying motives and their relationships to keys and harmonic progressions, and (3) voice leading reductions relative to linear and tonal prolongation. Arnold Schoenberg, Hans Keller, and Rudolph Reti provide valuable insights concerning the organic nature of thematic material. The voice leading reductions of Heinrich Schenker and William Renwick offer procedures that reveal underlying thematic relationships. The cohesive elements of the selected fugues will be explained with reference to immediate and long-range relationships.

This dissertation is the development of a hybrid analytical procedure and its application to the three extant sonatas of Six Sonates pour le violon by Joseph Boulogne "Le Chevalier" Saint-Georges. The procedure is based on the combining of theorist Heinrich Schenker's notion of "levels," and musicologist Leonard Ratner's notion of "topics" as proposed in their respective works Der freie Satz (1979, translated and edited by Eric Oster) and Classic Music: Expression, Form and Style (1980). The concept is based upon a general idea proposed by theorist V. Kofi Agawu in his article entitled "The First Movement of Beethoven's Opus 132 and the Classical Style," published in the Symposium 27 (1987): 30-45. / The hybrid analytical procedure proposed in this dissertation is offered as an alternative analytical perspective for classic music. Included in the work is a brief overview of the Schenkerian notion of levels, the notion of topics, and a description of their adjoinment to form a single interactive hybrid analytical system. Demonstration analyses which illustrate the application of the procedure are also included. / Source: Dissertation Abstracts International, Volume: 53-04, Section: A, page: 0984. / Major Professor: Robert L. Smith. / Thesis (Ph.D.)--The Florida State University, 1992.

This thesis illustrates a narrative paradigm consisting of the ego and alter-ego, manifested within the thematic content of Gellman's Concerto for Viola and Orchestra. I invoke contour theory as my primary analytical tool, which I combine with Schenkerian techniques to highlight the possibilities for contour prolongation at the foreground, middleground, and background levels. I support my analysis based on various types and combinations of accent, harmony, and voice leading. Chapter one contains Gellman's biographical information, while chapter 2 provides the methodology of my analytical approach based on the contour models devised by Marvin, Laprade, and Morris. Regarding accent and prolongation, I reference the work of Roeder and Straus, respectively. In chapters three and four, I analyse the first two movements providing a contour/prolongational analysis of the primary thematic material. Chapter five summarises these relationships and investigates the implications for research in the third movement of the Gellman's composition. Keywords: Steven Gellman, Concerto for Viola and Orchestra, Contour, Theme, Contour Relations, Prolongation, Contour Prolongation, Narrative, Ego, Alter-ego, Elizabeth West Marvin, Paul A. Laprade, Robert D. Morris, Joseph Straus, John Roeder, Heinrich Schenker

This dissertation examines sections of Richard Wagner's final opera, Parsifal, using both Neo-Riemannian theory and Schenkerian analysis. The Neo-Riemannian discussion is primarily concerned with the creation of an inclusive model capable of analyzing any parsimonious connection between two common practice sonorities. The construction of this model is achieved in four phases. First, Riemann's Tonnetz is expanded to include transformations involving both augmented and diminished triads. Second, Douthett and Steinbach's Power Towers graph is expanded to include all seventh chords, and new functional designations are applied to these transformations. Third, connections between sonorities that involve a change in cardinality are examined and compared to triadic transformations. Finally, the results of all three of these analytical discussions are combined to produce an inclusive analytical model. Four short passages from Parsifal are analyzed using the inclusive model. The next section explores Heinrich Schenker's ideas on chromaticism and posits that Wagner's music still lies within Schenker's definition of tonality; therefore his analytical system should be able to illuminate large sections of Wagner's music. Attempts by previous scholars to apply Schenkerian reductive techniques to large sections of Wagner's music are reviewed. Literature that suggests the existence of dissonant prolongation and multivalence (based in part on Schenker's own graphs) is reviewed. Five tonally-closed sections of Parsifal – the Act I Prelude, the Act II Prelude, the "Kiss" scene from Act II, the "Baptisms" scene from Act III, and the "Amfortas' Prayer" scene from the end of the opera – are analyzed using the expanded Schenkerian analytical techniques including prolongation of dissonant sonorities and multivalence. The graphs reveal that the Schenkerian method is capable of elucidating the deep foreground (tonal) musical structure in spite of the dense foreground chromaticism that is constant throughout Wagner's final musical drama. / A Dissertation submitted to the School of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Degree Awarded: Spring Semester, 2003. / Date of Defense: April 1, 2003. / Neo-Riemannian theory, Schenkerian analysis / Includes bibliographical references. / Jane Piper Clendinning, Professor Directing Dissertation; Douglas Fisher, Outside Committee Member; Evan Allan Jones, Committee Member; James R. Mathes, Committee Member; Matthew R. Shaftel, Committee Member.

This thesis pursues three successive and related areas of research. First, it undertakes a critique of Schoenberg's interpretation of nineteenth-century tonality, and explores the reception history of these ideas and their relationship with other prominent theoretical models, notably that of Heinrich Schenker. Second, it suggests an analytical theory of nineteenth-century tonality which proceeds from the conclusions of this critique. Lastly, it applies this model in the analysis of an extended work from the period: Bruckner's Eighth Symphony. The initial critique seeks to show that Schoenberg's model of tonality in decline is predicated on a self-justifying argument; the necessity of atonality is not an immanent property of nineteenth-century tonality, but is imposed upon the music by Schoenberg's own theoretical discourse. Schenkerian theory associates with this position in a negative sense; the aspects of this music which Schoenberg perceived to be the precursor of atonality are taken by Schenker as evidence of the decline of the musical art. The error in both interpretations is the assumption that a stable system of tonality must of necessity be founded on a fundamental diatonicism. The suggestions of an alternative model starts with an exploration of the properties of a tonal system arising from a fundamental chromaticism. The taxonomies of modal and harmonic properties advanced in this regard by Gregory Proctor and Robert Bailey are extended, and distilled into four categories, being diatonicism and three identifiable modes of chromatic progression. The theoretical exposition then elaborates a quasi-reductive model, founded upon this taxonomy, which replaces the Schenkerian system with a dualistic theory. The foreground level is characterised by the grouping of material into localised units defined by the control of one or more of the categories of progression and possible modalities arising from the total chromatic. Such structures are defined as 'harmonic fields'. A segmental technique is advanced which facilitates the isolation of these structures. The notion of the <I>Ursatz</I> is then revised to accommodate mixtures of diatonic and non-diatonic tonal relationships, and purely chromatic tonal structures, and a taxonomy of background types is provided.

Trotz der bahnbrechenden Analyse von Heinrich Schenker, der beeindruckenden Untersuchung der Skizzen durch William Drabkin und der jüngsten analytischen Übersichten von William Kinderman ist der Variationssatz von Beethovens Klaviersonate Nr. 32 in c-Moll, Opus 111, nach wie vor nur teilweise verstanden. Eine erneute Untersuchung dieses Werks im Hinblick auf klangliche Effekte, die auf dem Originalinstrument, für das es komponiert wurde, hörbar sind, legt eine insgesamt dreiteilige dramatische Aufteilung nahe, die der Form eines Auferstehungsdramas entspricht, in dem ein Thema lebt, stirbt und in der Apotheose wiederkehrt. Diese Schlussfolgerung stützt sich auf Tonaufnahmen, die auf Beethovens originalem Broadwood-Fortepiano in Budapest und ähnlichen Instrumenten in Bonn und Kalifornien gemacht wurden. Recherchen in Beethovens Manuskripten und Skizzen stützen die in diesem Aufsatz dargelegten Schlussfolgerungen. / Despite Heinrich Schenker’s groundbreaking analysis, William Drabkin’s impressive examination of the sketches and recent analytical overviews by William Kinderman, the variation movement of Beethoven’s Piano Sonata No. 32 in c minor, Opus 111 remains only partially understood. A re-examination of this work in terms of timbral effects audible on the original instrument for which it was composed suggests an overall three-part dramatic division corresponding to the form of a resurrection drama where a theme lives, dies and returns in apotheosis. This conclusion is based upon sound recordings made on Beethoven’s original Broadwood fortepiano located in Budapest and similar instruments in Bonn and California. Research into Beethoven‘s manuscripts and sketches support the conclusions presented in this paper.