19세기 확장된 반음계주의 음악의 분석모형
Analytic Models for Extremely Chromatic Music in the Nineteenth Century
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This paper deals with a tonal phenomenon, "directional tonality," as witnessed occasionally in chromatic music of the nineteenth century. The paper begins by tracing a definition of the directional tonality and diverse compositional techniques related to manipulations of the tonality through the literature review. I have then examined theoretical assumptions for Schenkerian analytic models to be applied to musical works taking the directional tonality as a structural basis. After proposing analytic premises for the application of the Schenkerian analysis to the directional tonality work, I have presented three analytic essays based on Gustave Mahler's Lieder, Erinnerung, Der Tamboursg'sell, and Ich hab' ein glühend Messer, all of which pose such a structural trait. The Erinnerung that features a tonal shift to the major second above accomplishes the directional tonality by transforming a dominant 9th chord to IV9, whereas the Der Tamboursg'sell takes a series of transformations, in which a subdominant changes into a tonic and in turn to a dominant. The last excerpt, which marks a key relationship of a minor second apart, involves the most radical transformation process that changes the in the opening key into the forming a structural cadence in the second key.
Abstract
This paper deals with a tonal phenomenon, "directional tonality," as witnessed occasionally in chromatic music of the nineteenth century. The paper begins by tracing a definition of the directional tonality and diverse compositional techniques related to manipulations of the tonality through the literature review. I have then examined theoretical assumptions for Schenkerian analytic models to be applied to musical works taking the directional tonality as a structural basis. After proposing analytic premises for the application of the Schenkerian analysis to the directional tonality work, I have presented three analytic essays based on Gustave Mahler's Lieder, Erinnerung, Der Tamboursg'sell, and Ich hab' ein glühend Messer, all of which pose such a structural trait. The Erinnerung that features a tonal shift to the major second above accomplishes the directional tonality by transforming a dominant 9th chord to IV9, whereas the Der Tamboursg'sell takes a series of transformations, in which a subdominant changes into a tonic and in turn to a dominant. The last excerpt, which marks a key relationship of a minor second apart, involves the most radical transformation process that changes the in the opening key into the forming a structural cadence in the second key.
참고문헌 (21)
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