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Charles Smith (1996)
Musical Form and Fundamental Structure: An Investigation of Schenker's 'Formenlehre'Music Analysis, 15
I am referring here only to chromaticism in the service of tonicization, i.e., of the scale-steps of the diatonic system. That other phenomenon, also customarily known as âchromaticism,â when two homonymous keys combine as, e.g., [the notes] E and E-flat in C major/minor, I do not regard as chromaticism but as an independent principle of composition, namely mixture, which I have already established in some detail. This distinction will lead us to a better understanding of the intentions of the composer; it will not handicap our enjoyment in reading or listening. [Translation by Elisabeth Mann Borgese, slightly amended; emphasis and bracketed material added.] Ich meine hier ausschlieÃlich das Chromatische im Dienste der Tonikalisierung, d. i. der Stufen der Diatonie; denn, was landläufig auch Chroma gennant wird, wenn zwei gleichartige Tonarten sich mischen, z. B. Es und E in C dur/moll, betrachte ich nicht als Chroma, sondern als ein selb- ständiges Prinzip der Komposition, nämlich als Mischung, was ich bereits ausführlich begründet habe. Diese Unterscheidung führt um so sicherer zur Nachempfindung der Absicht des Komponisten, also gewià nicht zur Beeinträchtigung des Genusses beim Lesen oder Hören. This passage appears as a footnote to a passage that Hyer quotes on
Journal of Music Theory – Duke University Press
Published: Jan 1, 2003
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