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“…Permitted the licence to address Schoenberg's tonal idiolect from a technical standpoint, Robert P. Morgan reads 'Lockung' and 'Traumleben' from the Op. 6 songs against the grain of the double-tonic complex initially codified by Robert Bailey (1985) and subsequently developed by Christopher Lewis (1987). The purported tonal contingency to which Schoenberg's definition of schwebende Tonalität as expounded in the Harmonielehre gives rise, Morgan argues, indicates that the concept depends 'upon one of two possible conditions: either the tonic is implied without being explicitly stated, or .…”
“…Permitted the licence to address Schoenberg's tonal idiolect from a technical standpoint, Robert P. Morgan reads 'Lockung' and 'Traumleben' from the Op. 6 songs against the grain of the double-tonic complex initially codified by Robert Bailey (1985) and subsequently developed by Christopher Lewis (1987). The purported tonal contingency to which Schoenberg's definition of schwebende Tonalität as expounded in the Harmonielehre gives rise, Morgan argues, indicates that the concept depends 'upon one of two possible conditions: either the tonic is implied without being explicitly stated, or .…”
“…Accounting for the sum of these parts, however, requires us to ramify both theoretical contexts . One path towards such an account is suggested by the notion of the double‐tonic complex proposed by Robert Bailey for Tristan () and developed further by Christopher Lewis (, and ), Deborah Stein (), Matthew Bribitzer‐Stull ( and ) and Matthew BaileyShea (). As Bailey explains: The new feature of Tristan is the pairing together of two tonalities a minor third apart in such a way as to form a ‘double‐tonic complex’.…”
Section: Form ‘Orbital’ Tonality and Harmonic Discontinuitymentioning
confidence: 99%
“…Drawing these precedents together, I propose a concept of orbital tonality for Bruckner, fundamental to which is the claim that his mature music disperses the foreground across multiple tonal orbits . Moving beyond the monotonal notion of a unifying, hierarchically privileged key, but also noting Lewis's caution against regarding the double‐tonic complex as ‘bitonal’ (, p. 30), I reimagine the concept of tonal pairing by construing each orbit as a system in itself, possessing a centre and its own set of locally tonic‐defining relationships. The orbital centres are not ‘local representatives of the tonic complex’, as Bailey understands double‐tonic relations.…”
Section: Form ‘Orbital’ Tonality and Harmonic Discontinuitymentioning
This article investigates questions of form in the Finale of Bruckner's Seventh Symphony, paying special attention to the reversed recapitulation as a problematic category in contemporary Formenlehre. Counterpointing Timothy Jackson's reading of the movement as a ‘tragic’ reversed sonata against James Hepokoski and Warren Darcy's critique of the concept of reversal, it seeks ways of accounting for the movement's novel form‐functional characteristics, which integrate concepts of thematic syntax with a model of chromatic tonality, drawing simultaneously on Schenkerian and neo‐Riemannian theories and the notion of the double‐tonic complex first proposed by Robert Bailey. The argument is contextualised in relation to critical debates about Bruckner's forms that originated during the composer's lifetime, especially claims of material discontinuity and harmonic illogicality, which were common in the symphonies’ pro‐Brahmsian reception and which linger in the discourse up to the present. The article's central claim is that a substantial understanding of both the Finale's form and its critical reception is attendant upon a theory of formal function, which takes seriously the difficulties of harmonic analysis that Bruckner's post‐Wagnerian idiom engenders.
David Kopp's book develops a model of chromatic chord relations in nineteenth-century music by composers such as Schubert, Beethoven, Chopin, Schumann and Brahms. The emphasis is on explaining chromatic third relations and the pivotal role they play in theory and practice. The book traces conceptions of harmonic system and of chromatic third relations from Rameau through nineteenth-century theorists such as Marx, Hauptmann and Riemann, to the seminal twentieth-century theorists Schenker and Schoenberg and on to the present day. Drawing on tenets of nineteenth-century harmonic theory, contemporary transformation theory and the author's own approach, the book presents a clear and elegant means for characterizing commonly acknowledged but loosely defined elements of chromatic harmony, and integrates them as fully fledged entities into a chromatically based conception of harmonic system. The historical and theoretical argument is supplemented by plentiful analytic examples.
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