Challenge to Musical Tradition - A New Concept of Tonality

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Text extracted from opening pages of book: Challenge To Musical Tradition A NEW CONCEPT OF TONALITY ADELE T. KATZ NEW YORK ALFRED A. KNOPF 1946 Copyright 1945 by Alfred A. Knopf, Inc. AU rights reserved. No part of this book may be reproduced in any form without permission in writing from the publisher, except by a reviewer who may quote brief passages in a review to be printed in a magazine or newspaper, Manufactured in the United States of America Published simultaneously in Canada by The Ryerson Press PUBLISHED OCTOBER 18, 1945 SECOND PRINTING, FEBRUARY 1946 To HANS WEISSE whose inspiration as a musician and encouragement as a friend made this book possible. Acknowledgments I SHOULD like to thank the following publishers for the use of music illus trations quoted from copyright works: The Associated Music Publishers, Inc., New York, representatives of Breitkopf & Hartel, Leipzig, Germany, and Universal-Edition, Vienna, Austria; Elkan-Vogel Company, Philadel phia, representative of Durand & Cie. and Jean Jobert, Paris, France; Galaxy Music Corporation, New York, representative of J. & W. Chester, Ltd, London, England; Edition Russe de Musique, Paris, France; Rus sische Musik Verlag, Berlin, Germany; and Clayton F. Summy Co., Chi cago, representative of Peters Edition, Leipzig, Germany. I am indebted to the Theodore Presser Co., Philadelphia, for permission to use a musical analysis from Donald Tweed/ s Manual of Harmonic Technic, and to W. W. Norton & Co., Inc., New York, for the use of an analysis from Walter Piston's Harmony. To Dr. Felix Salzer I am especially grateful for the warm and un flagging interest he has shown from the inception of this book through its final phases, andfor his provocative point of view which evoked so many stimulating discussions of problems dealt with in this book. I would like also to thank Ernst Oster for his careful examination and checking of the graphs throughout the book. My thanks also go to Laura Abbott Dale and Julietta B. Kahnt for their invaluable help in proofread ing the manuscript and the graphs, and to Antoinette Leger, not only for her careful typing but for her interest. vii Contents INTRODUCTION xxi Purpose of book: to demonstrate difference between customary concep tion of tonality derived from textbooks and Schenker's conception evolved from music. Tradition defined. Tradition versus principles, \ Challenge within tonal concept. Challenge to tonal concept. \ Discrep ancies to which accepted theoretical approach leads. \ Practical value of Schenker's approach. \ Choice of composers explained. Reasons for including Debussy, Stravinsky, Schonberg in discussion of tond tech niques. CHAPTER L THE CONCEPT OF TONALITY 1 Schenker's conception of tonality. Customary conception defined by contemporary composers. \ Pivot and fence chords as modulating agents. Effect on tonal coherence. \ Present-day methods of harmonic analysis. Analyses by Tweedy ( Example 1), Piston ( Example 2).\ Chord grammar or syntax versus chord significance or function ( Ex ample S).\ Fundamental distinction between harmony and counter point. Diverse roles they enact. Fifth association as source of har monic impulse. Origin. Expression, tonic-dominant relationship. Fundamental I V I progression ( Example 4 ). j Harmonic progres sions. Difference from customary modulating cadences. \ Distinction between chords. Harmonic versus contrapuntal. Origin (Example 5). Contrasting functions; structural, prolonging ( Example 6).\ Me lodic prolongations. Structural top voice. Difference from melody. Types of prolonging motions ( Examples 7-9). Horizontalization or chord-arpeggiation as applied to outside voices. Basic structure defined ( Example 10). \ Harmonic prolongations, j Relation of basic harmonic progressions to primordial structure ( Example 11). \ Funda mental distinctions between chord prolongation and modulation. To nality as structural coherence. Types of harmonic prolongation. ( 1) Expansion of member of b

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