This critique also illuminates Adorno's use of the term “intensive” to describe a specific quality of Beethoven's symphonic style, one that bears a striking connection to Schoenberg's “condensing technique of 'liquidation.'” Several examples of Beethoven's intensive phrase structures offer important connections between technical and aesthetic aspects of Classicalstyle organization. In this article, I reconsider the sentence as a trope of Fischer's Fortspinnung type and attend to the technical and aesthetic implications of its (hidden) history. To solve these problems, we must expand our concept of the sentence itself-we must recognize its status as an abstraction and recover the figures that have been sedimented into its theoretical form we must attempt to historicize our formal model. These observations raise significant questions about what kind of unit the sentence is and reveal the extent to which we have buried historical reasons for its features within the formal model. Close scrutiny reveals that composers frequently expanded the sentence and/or embedded it into larger phrase configurations nearly half of Schoenberg's sentence examples in his Fundamentals of Musical Composition exceed his own pedagogical eight-bar model, and Marx's less formalized examples of the Satz type suggest a similar conception.
The sentence has become a firmly established phrase model in music theory, yet its status as a self-sufficient and complete unit, complementary to the period, remains empirically vulnerable. Nathan John Martin is assistant professor of music at the University of Michigan. Julie Pedneault-Deslauriers is assistant professor of music at the University of Ottawa. Steven Vande Moortele is assistant professor of music at the University of Toronto. Poundie Burstein, Andrew Deruchie, Julian Horton, Steven Huebner, Harald Krebs, Henry Klumpenhouwer, Nathan John Martin, François de Médicis, Christoph Neidhöfer, Julie Pedneault-Deslauriers, Giorgio Sanguinetti, Janet Schmalfeldt, Peter Schubert, Steven Vande Moortele Running through all of these essays and connecting them thematically is the central notion of formal function.ĬONTRIBUTORS: Brian Black, L. The essays, written by established and emerging scholars from the United States, the United Kingdom, Canada, and the European continent, run the chronological gamut from Haydn and Clementi to Leibowitz and Adorno they discuss Lieder, arias, and choral music as well as symphonies, concerti, and chamber works they treat Haydn's humor and Saint-Saëns's politics, while discussions of particular pieces range from Mozart's arias to Schoenberg's Verklärte Nacht. Formal Functions in Perspective presents thirteen studies that engage with musical form in a variety of ways. These analyses show that operatic formal types were compatible with Wagner's Gesamtkunstwerk aesthetic, and the analytic method suggests a path toward further engagement with other nineteenth-century opera and other genres that combine music, text, and dramatic storytelling.Īmong the more striking developments in contemporary North American music theory is the centrality that questions of musical form ( Formenlehre ) have enjoyed in recent decades. The third part analyzes the much “looser” lyric form in “Wotan's Farewell” from the end of Die Walküre, which displays both Wotan's intimate, self-expressive communication and Wagner's increasing flexibility with the template. The second part shows how Wagner's lyric forms integrate into the surrounding dramatic continuity as extroverted, performative monologues within realistic conversations. The first part of this article proposes a conceptual revision of lyric form as a conventional configuration of both music and text, which are united by a shared set of music-rhetorical functions. This article demonstrates Wagner's continued use of one such formal type-lyric form (AABA or AABC)-in five examples from Das Rheingold and Die Walküre. In the often-contentious area of Wagnerian form, analysts have tended to draw more on Wagner's writings and the Formenlehre tradition than on operatic models, but recent studies by Karol Berger and Ji-Yeon Lee have shown examples of opera-specific formal types in the music dramas. There is growing recognition that Richard Wagner's mature works-the music dramas-owed much to earlier nineteenth-century opera.
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