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[4] The following articles will attempt to ï¬ll this gap.4 [5] At the same time, in consideration of the ever-expanding freedom of modern harmonic practice and the budding view that any chord can follow any other, my purpose is to demonstrate that a deï¬nite limit does exist for this kind of arbitrariness.5 This limit is to be sought in nothing other than the logical meaning of the various degrees of the scale. [6] We shall see how the freest and most complex of harmonic and metric formations evolve from the simplest principle of thesis, antithesis, and synthesis, corresponding to the Hauptmannian octave-, ï¬fth-, and third-concept. [7] We shall likewise discern variety in the expressive use of these principlesâan entirely varied periodic structure, for example, in the music of Mozart and Beethoven or Schumann and Mendelssohn. We shall also decipher Wagnerâs peculiar forms with reference to these same principles. [8] With this view toward a creative life of the greatest formal abundance, we now set foot upon the difï¬cult and somewhat barren path of theory.6 I. Harmonic Logic.7 [9] 1. Cadence. M. Hauptmann would have it that the satisfaction given by the cadence C-F-G-C is due to the keyâs
Journal of Music Theory – Duke University Press
Published: Jan 1, 2000
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