Pentatonicism is hardly a new topic of research, although studies have virtually always been limi... more Pentatonicism is hardly a new topic of research, although studies have virtually always been limited in some way, generally by composer or repertoire. Day-O'Connell's recent monograph is a compendium of the author's research on the pentatonic (1) and represents the first comprehensive study of this subject to date. Rather than approach this topic exclusively from one perspective, Day-O'Connell examines pentatonicism from several different angles: the first part of this study (Scale) is analytic in nature, the second (Signification) is historical and hermeneutical, and the third (Beyond Signification) uses a mixture of these approaches. (2) A lengthy catalog of 416 examples, accounting for 270 of the book's 529 pages, is an integral part of the study in terms of both content and length. This catalog represents works composed from ca. 1700 to 1926 and ranges in length from excerpts of a few measures to complete works. [2] Many of the musical works cited might at first seem out of place in a book dedicated to the pentatonic. It is obvious why Vogler's Pente chordium is included; the composer scrupulously avoids all of the white keys on the keyboard throughout this work (Example 1). On the other hand, it is more difficult to see why excerpts from Brahms's Schicksalslied or the quintet from the first act of Mozart's Die Zauberflöte are cited (Examples 2 and 3). (3) The inclusion of the latter two examples reveals Day-O'Connell's unique approach to the pentatonic. As he states in his introduction: In addition to the precise scalar definition, then, I will also recognize degrees of pentatonicism, gauged not only according to an adherence to the five notes in question but also according to the prominence of melodic motion highlighting the pentatonic "gaps." Depending on the context, then, collections involving fewer or more than five notes may nonetheless qualify as pentatonic. Furthermore, the pentatonicism I describe will more often appear in the melody alone than suffuse an entire texture (the pentatonic scale, after all, supports only two triads, I and vi); it will more often characterize a single passage than govern an entire piece; it may be thematic, ornamental, or accompanimental. (4) The pentatonic "gaps," as explained in the book's introduction, are produced when the major scale is deprived of its subdominant and leading-tone scale degrees; disjunct motions between-and-within the major scale become stepwise motions within the pentatonic. (4) To formalize this point, the author embraces Lerdahl's theory of tonal pitch space (Lerdahl 2001) and goes on to posit a new level of pentatonic pitch space between those of the triadic and the diatonic. While there are two pentatonic "gaps," it is the one between-the pentatonic leading tone-tonic adjacency in pentatonic pitch
Dave Brubeck has incorporated polytonality into his jazz compositions throughout his long career.... more Dave Brubeck has incorporated polytonality into his jazz compositions throughout his long career. Like his composition teacher Darius Milhaud, Brubeck defines polytonality as the combination of distinct triads, and this technique forms the definition of the term as used in this article. This approach avoids the insoluble problems of chord spelling and perception inherent in polytonality; it also allows for a grey area between simple polychords and the projection of multiple tonal centers (and Brubeck exploits both procedures in his compositions). This article introduces a method to compare the relative dissonance between polychords in order to reveal the logic behind Brubeck’s incorporation of polytonality into the standard jazz vocabulary. Brubeck’s use of polytonality helps to project a general decrease or increase in relative dissonance, thereby clarifying the formal structure on both the smalland large-scale. The comparison with tonal theory extends to include pivot chords; with...
Henry Martin recently introduces new forms of the Urlinie other than Schenker’s 3-, 5-, and 8-lin... more Henry Martin recently introduces new forms of the Urlinie other than Schenker’s 3-, 5-, and 8-lines to provide superior readings of works from the tonal jazz repertory. This study questions the superiority of these new Urlinien; Schenker’s three forms of the Ursatz are preferred instead. Martin’s dissatisfaction with orthodox Schenkerian theory is traced to his belief in the inviolability of the original melody, which excludes the use of implied tones and forces the Urlinie to appear in the upper voice, thus eliminating the Deckton.
... a rather sickly childhood through maturity to old agemay leave the music theorist keen to ge... more ... a rather sickly childhood through maturity to old agemay leave the music theorist keen to get on with the real action. ... a corrected, 'socialized' edition (146), which she presents in English translation, with transcription of the musical examples provided by David Smey (157300 ...
by sequential motion featuring semitonal transposition. This topic has been termed transpositiona... more by sequential motion featuring semitonal transposition. This topic has been termed transpositional combination (TC) by Cohn, and it relates naturally to Debussy's method of aggregate formation. Such passages appear throughout Debussy's output, and serve a variety of functions. Debussy expanded his method of aggregate formation in his final works beyond TC to include inversional symmetry as well. The "mystery" behind the similarity in a chord progression common to works by both Debussy and Berg is found in a trait both works share: aggregate formation via TC.
Pentatonicism is hardly a new topic of research, although studies have virtually always been limi... more Pentatonicism is hardly a new topic of research, although studies have virtually always been limited in some way, generally by composer or repertoire. Day-O'Connell's recent monograph is a compendium of the author's research on the pentatonic (1) and represents the first comprehensive study of this subject to date. Rather than approach this topic exclusively from one perspective, Day-O'Connell examines pentatonicism from several different angles: the first part of this study (Scale) is analytic in nature, the second (Signification) is historical and hermeneutical, and the third (Beyond Signification) uses a mixture of these approaches. (2) A lengthy catalog of 416 examples, accounting for 270 of the book's 529 pages, is an integral part of the study in terms of both content and length. This catalog represents works composed from ca. 1700 to 1926 and ranges in length from excerpts of a few measures to complete works. [2] Many of the musical works cited might at first seem out of place in a book dedicated to the pentatonic. It is obvious why Vogler's Pente chordium is included; the composer scrupulously avoids all of the white keys on the keyboard throughout this work (Example 1). On the other hand, it is more difficult to see why excerpts from Brahms's Schicksalslied or the quintet from the first act of Mozart's Die Zauberflöte are cited (Examples 2 and 3). (3) The inclusion of the latter two examples reveals Day-O'Connell's unique approach to the pentatonic. As he states in his introduction: In addition to the precise scalar definition, then, I will also recognize degrees of pentatonicism, gauged not only according to an adherence to the five notes in question but also according to the prominence of melodic motion highlighting the pentatonic "gaps." Depending on the context, then, collections involving fewer or more than five notes may nonetheless qualify as pentatonic. Furthermore, the pentatonicism I describe will more often appear in the melody alone than suffuse an entire texture (the pentatonic scale, after all, supports only two triads, I and vi); it will more often characterize a single passage than govern an entire piece; it may be thematic, ornamental, or accompanimental. (4) The pentatonic "gaps," as explained in the book's introduction, are produced when the major scale is deprived of its subdominant and leading-tone scale degrees; disjunct motions between-and-within the major scale become stepwise motions within the pentatonic. (4) To formalize this point, the author embraces Lerdahl's theory of tonal pitch space (Lerdahl 2001) and goes on to posit a new level of pentatonic pitch space between those of the triadic and the diatonic. While there are two pentatonic "gaps," it is the one between-the pentatonic leading tone-tonic adjacency in pentatonic pitch
Dave Brubeck has incorporated polytonality into his jazz compositions throughout his long career.... more Dave Brubeck has incorporated polytonality into his jazz compositions throughout his long career. Like his composition teacher Darius Milhaud, Brubeck defines polytonality as the combination of distinct triads, and this technique forms the definition of the term as used in this article. This approach avoids the insoluble problems of chord spelling and perception inherent in polytonality; it also allows for a grey area between simple polychords and the projection of multiple tonal centers (and Brubeck exploits both procedures in his compositions). This article introduces a method to compare the relative dissonance between polychords in order to reveal the logic behind Brubeck’s incorporation of polytonality into the standard jazz vocabulary. Brubeck’s use of polytonality helps to project a general decrease or increase in relative dissonance, thereby clarifying the formal structure on both the smalland large-scale. The comparison with tonal theory extends to include pivot chords; with...
Henry Martin recently introduces new forms of the Urlinie other than Schenker’s 3-, 5-, and 8-lin... more Henry Martin recently introduces new forms of the Urlinie other than Schenker’s 3-, 5-, and 8-lines to provide superior readings of works from the tonal jazz repertory. This study questions the superiority of these new Urlinien; Schenker’s three forms of the Ursatz are preferred instead. Martin’s dissatisfaction with orthodox Schenkerian theory is traced to his belief in the inviolability of the original melody, which excludes the use of implied tones and forces the Urlinie to appear in the upper voice, thus eliminating the Deckton.
... a rather sickly childhood through maturity to old agemay leave the music theorist keen to ge... more ... a rather sickly childhood through maturity to old agemay leave the music theorist keen to get on with the real action. ... a corrected, 'socialized' edition (146), which she presents in English translation, with transcription of the musical examples provided by David Smey (157300 ...
by sequential motion featuring semitonal transposition. This topic has been termed transpositiona... more by sequential motion featuring semitonal transposition. This topic has been termed transpositional combination (TC) by Cohn, and it relates naturally to Debussy's method of aggregate formation. Such passages appear throughout Debussy's output, and serve a variety of functions. Debussy expanded his method of aggregate formation in his final works beyond TC to include inversional symmetry as well. The "mystery" behind the similarity in a chord progression common to works by both Debussy and Berg is found in a trait both works share: aggregate formation via TC.
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