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Explaining Tonality: Schenkerian Theory and Beyond
A defense of Schenkerian analysis of tonality in music.
A wide range of music -- from Bach to Mozart and Brahms -- is marked by its use of some form of what is generally called "tonality": the tendency of music to focus melodically on some stable pitch or tonic and for its harmony to use functional triads. Yet few terms in music theory are more enigmatic than that seemingly simple word "tonality."
Matthew Brown's Explaining Schenkerian Theory and Beyond considers a number of disparate ways in which functional tonality has been understood. In particular, it focuses on the comprehensive theory developed by Heinrich Schenker in his monumental three-part treatise Neue musikalische Theorien und Phantasien [1906-1935].
Schenker systematically investigated the ways in which lines and chords behave both locally within individual tonal phrases and globally across entire compositions. Explaining Tonality shows why Schenker was able to elucidate tonal relationships so successfully and the many advantages that his explanations have over those of his rivals. In addition, it proposes some ways in which Schenker's approach can be extended to tonal features in works from before Bach [such as Monteverdi] and after Brahms [such as Debussy, Stravinsky, and much popular music of today].
Along the way, the book explores six methodological criteria that help in building, testing, and evaluatinga plausible theory of tonality or, indeed, any other musical accuracy, scope, fruitfulness, consistency, simplicity, and coherence. It reveals how understanding the tonality of a piece can shed light on other aspects of musical composition. And, in conclusion, it describes some ways in which Schenkerian theory might fruitfully develop in the future.
Matthew Brown is Professor of Music Theory at the Eastman School of Music, Universityof Rochester, and author of Debussy's "Ibéria" [Oxford University Press].
A wide range of music -- from Bach to Mozart and Brahms -- is marked by its use of some form of what is generally called "tonality": the tendency of music to focus melodically on some stable pitch or tonic and for its harmony to use functional triads. Yet few terms in music theory are more enigmatic than that seemingly simple word "tonality."
Matthew Brown's Explaining Schenkerian Theory and Beyond considers a number of disparate ways in which functional tonality has been understood. In particular, it focuses on the comprehensive theory developed by Heinrich Schenker in his monumental three-part treatise Neue musikalische Theorien und Phantasien [1906-1935].
Schenker systematically investigated the ways in which lines and chords behave both locally within individual tonal phrases and globally across entire compositions. Explaining Tonality shows why Schenker was able to elucidate tonal relationships so successfully and the many advantages that his explanations have over those of his rivals. In addition, it proposes some ways in which Schenker's approach can be extended to tonal features in works from before Bach [such as Monteverdi] and after Brahms [such as Debussy, Stravinsky, and much popular music of today].
Along the way, the book explores six methodological criteria that help in building, testing, and evaluatinga plausible theory of tonality or, indeed, any other musical accuracy, scope, fruitfulness, consistency, simplicity, and coherence. It reveals how understanding the tonality of a piece can shed light on other aspects of musical composition. And, in conclusion, it describes some ways in which Schenkerian theory might fruitfully develop in the future.
Matthew Brown is Professor of Music Theory at the Eastman School of Music, Universityof Rochester, and author of Debussy's "Ibéria" [Oxford University Press].
- GenresMusic
315 pages, Hardcover
First published October 1, 2004
About the author
Matthew Brown
9 booksLibrarian Note: There is more than one author in the Goodreads database with this name.
Please see: Matthew Brown
Born in London, Matthew Brown studied at the Royal College of Music Preparatory Division and later at King's College London. He pursued a Ph.D. in musicology at Cornell University. From 1983-1986 he was a junior fellow at Harvard University. Since then, he has taught musicology at the Eastman School of Music and theory at Louisiana State University. He has served on the council of the American Musicological Society and the executive board of the Society for Music Theory. He is currently Associate Professor of Music Theory at the Eastman School of Music.
source: about the author in "Debussy's Ibéria
"
Please see: Matthew Brown
Born in London, Matthew Brown studied at the Royal College of Music Preparatory Division and later at King's College London. He pursued a Ph.D. in musicology at Cornell University. From 1983-1986 he was a junior fellow at Harvard University. Since then, he has taught musicology at the Eastman School of Music and theory at Louisiana State University. He has served on the council of the American Musicological Society and the executive board of the Society for Music Theory. He is currently Associate Professor of Music Theory at the Eastman School of Music.
source: about the author in "Debussy's Ibéria
"
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December 16, 2020
This text is delightfully readable and clearly presents its argument: that the author's chosen music theory is cognitively correct. The text serves also as a clear introduction to the basic facets of Schenkerian theory.
Unfortunately, his justification for the theory is not that much better than those he critiques. He points to whatever evidence he can find---which I admit is often appropriate---but simply ignores anything that suggests otherwise.
Unfortunately, his justification for the theory is not that much better than those he critiques. He points to whatever evidence he can find---which I admit is often appropriate---but simply ignores anything that suggests otherwise.
Displaying 1 of 1 review