Get 20M+ Full-Text Papers For Less Than $1.50/day. Start a 14-Day Trial for You or Your Team.

Learn More →

‘Fishing in the Right Place’: Analytical Examples from the Tonalities Project

‘Fishing in the Right Place’: Analytical Examples from the Tonalities Project FROM This article is a supplement to Anthony Pople's `Using Complex Set Theory for Tonal Analysis: an Introduction to the Tonalities Project'. At the end of his unfinished article are the beginnings of two final sections. The first was to consider `analyses of more challenging music (by Bruckner, Mahler, Delius, Debussy, Schoenberg etc.)'; the second was to focus on the opening of Berg's Der Wein and the concept of chord induction ± a topic not actually covered in the article to that point. The passages for analysis were clearly those that had made somewhat fleeting appearances in three presentations Pople gave on Tonalities at Oxford, Reading and Bristol in 2000, 2001 and 2002.1 These extracts, from music composed around the turn of the nineteenth and twentieth centuries, will be examined here. They represent only about one third of the works analysed during the Tonalities project, but are sufficient to indicate the power of Tonalities as an analytical tool. A complete list of the 30 compositions analysed before Pople's untimely death is given in Fig. 1.2 This article attempts to develop the material left by Pople into a `performing version'. It does not claim to reconstruct exactly what Pople http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Music Analysis Wiley

‘Fishing in the Right Place’: Analytical Examples from the Tonalities Project

Music Analysis , Volume 23 (2‐3) – Jul 1, 2004

Loading next page...
 
/lp/wiley/fishing-in-the-right-place-analytical-examples-from-the-tonalities-y05fuLjSgM
Publisher
Wiley
Copyright
Copyright © 2004 Wiley Subscription Services, Inc., A Wiley Company
ISSN
0262-5245
eISSN
1468-2249
DOI
10.1111/j.0262-5245.2004.00202.x
Publisher site
See Article on Publisher Site

Abstract

FROM This article is a supplement to Anthony Pople's `Using Complex Set Theory for Tonal Analysis: an Introduction to the Tonalities Project'. At the end of his unfinished article are the beginnings of two final sections. The first was to consider `analyses of more challenging music (by Bruckner, Mahler, Delius, Debussy, Schoenberg etc.)'; the second was to focus on the opening of Berg's Der Wein and the concept of chord induction ± a topic not actually covered in the article to that point. The passages for analysis were clearly those that had made somewhat fleeting appearances in three presentations Pople gave on Tonalities at Oxford, Reading and Bristol in 2000, 2001 and 2002.1 These extracts, from music composed around the turn of the nineteenth and twentieth centuries, will be examined here. They represent only about one third of the works analysed during the Tonalities project, but are sufficient to indicate the power of Tonalities as an analytical tool. A complete list of the 30 compositions analysed before Pople's untimely death is given in Fig. 1.2 This article attempts to develop the material left by Pople into a `performing version'. It does not claim to reconstruct exactly what Pople

Journal

Music AnalysisWiley

Published: Jul 1, 2004

There are no references for this article.