Berg's 'Scheideweg': Analytical Issues in Op. 2/ii

Ayrey, Craig

doi:10.2307/854128

Cited by 8 publications

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“…Two things in particular make the opening and closing passages of the song ideal for such an exploration. First, this is ‘a work composed almost entirely of “vagrant” chords’ (Ayrey 1982, p. 191). The main vagrant that is used in the composition is set 4–25.…”

Section: Intrinsic Function Over Tonal‐extrinsic Functionmentioning

confidence: 99%

An Investigation into Intrinsic and Extrinsic Function in Vagrant Harmonies

Newton¹

2022

Music Analysis

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In this article I argue that vagrant harmonies have the ability to imply contexts outside of their current tonal region, which is supplied by their immediate musical surroundings. Viewing vagrants in this way enables their functionality to be compared to that of the magnetosome in saltwater bacteria. To explore harmonic function in relation to biological function, I use Larry Wright's (1973) definition of function and apply it to musical phenomena. This leads to a twofold view of harmonic function in vagrants, where it is both intrinsic and extrinsic. These concepts are then used in extracts of tonal pieces. Finally, I examine the second of Alban Berg's Four Songs, Op. 2, to show how harmonic progressions, when used in this way, can provide an exit from tonality while retaining function.

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Section: Intrinsic Function Over Tonal‐extrinsic Functionmentioning

confidence: 99%

An Investigation into Intrinsic and Extrinsic Function in Vagrant Harmonies

Newton¹

2022

Music Analysis

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show abstract

“…9-12 as well as the pervasive use of the "French sixth" chord-chord P in the present terminology-elsewhere in the song. 49 A previous interpretation of its voice-leading structure has been presented by Craig Ayrey (1982), whose discussion focuses expressly on the relationship between "tonal" and "atonal" aspects. Ayrey regards the "atonal aspect" as "predominant" (ibid., 192) but, nevertheless, shows the bass of an E≤ "triad" in m. 9 as belonging to the "fundamental bass progression" (ibid., 197; "Level 4" in Ayrey's Example 4 is reproduced in Example 12c below); according to Ayrey, the function of this "triad" is to articulate "the high-level atonal progression" (ibid., 192) "by the allusion to tonality" (ibid., 200).…”

Section: Berg: Op 2 No 2 (1909)mentioning

confidence: 99%