Le 1er juillet 2017
de 12h00 à 12h30
Le Patio (université de Strasbourg)
22 rue René Descartes, 67000 Strasbourg
amphithéâtre 5
Séance - Reconsidering Later Romanticism
Pré-acte / Acte
Auteur : Soo Hyun Jeong
This paper proposes a new analytical approach in which neo-Riemannian operations are coordinated with Schenkerian prolongational readings by the consideration of local and global tonics. Despite the common assumption that these two approaches yield opposing analytical readings, this paper ultimately shows that they can interact in analytical praxis. In order to model the synthesis of the two analytical approaches, I intend to discover networks of meaningful linear connections generated from neo-Riemannian parsimonious voice leading when a specific Stufe is prolonged––what I call “linear scale-degree motives.” By applying this model analytically to Strauss’s “September,” from Vier Letzte Lieder (1948), I show that the ultimate function of the recurring linear/motivic connections is to achieve inner coherence and continuity despite a high degree of chromaticism. Furthermore, by focusing on certain types of motivic repetition within the Schenkerian foreground, this paper demonstrates: 1) how linear-scale-degree motives are generated from the synthesis of harmonic and linear phenomena; 2) how the harmonic relationships are dependent on thematic coherence; 3) how the recurring linear scale-degree motives related to certain types of neo-Riemannian operations express compositional consistency and inner coherence. With these analytical results, I believe that exploring Strauss’s music may yield increased rewards if analysts are not limited to only one approach. Embracing certain aspects of different analytical methodologies can potentially allow us to better understand musical works.
