Chapter 5: Listening to Transcultural Tonal Practices

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Contents

Figure 5.1 | Example 5.1 | Example 5.2a; Example 5.2b; Example 5.2c | Example 5.3 | Example 5.4a & b | Example 5.5a; Example 5.5b | Example 5.6 | Example 5.7 | Example 5.8 | Example 5.9 | Example 5.10 | Example 5.11 | Example 5.12 | Example 5.13 | Example 5.14a; Example 5.14b | Example 5.15a; Example 5.15b; Example 5.15c | Example 5.16a; Example 5.16b

Figure 5.1

A representation of the finale’s idiomatic crescendo

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Example 5.1

Lydian
Ionian (major)
Melodic Minor
Major with flat 6 (Harmonic Major)
Mixolydian
Harmonic Minor
Dorian
Major with flat 6 and 7
Aeolian
Phyrgian
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Example 5.2

(a) Wagner, Die Walküre, from Act II scene I;


(b) Brahms, Zwölf Lieder und Romanzen für Frauenchor a capella Op. 44 no. 5, “Die Müllerin”, mm. 1–4;


(c) Chopin, Mazurka in C-sharp minor, Op. 41 No. 1, mm. 1–8

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Example 5.3

Three types of maximally smooth progressions between two triads (neo-Riemannian theory)

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Example 5.4

Common-tone retention between diatonic keys: a comparison between (a) the normative minor and (b) the verbunkos minor. “R” denotes relative key.

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Example 5.5

(a) Kalindra’s diatonic II and enharmonic (monotertial) II;

(b) a quasi-diatonic cycle of kalindra scales, dividing the octave symmetrically into major thirds Common tones down a third (clockwise): ^1, ^2, ^3, ^5, ^6; common tones up a third (counterclockwise): ^1, ^3, ^4, ^6, ^7

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Example 5.6

Sunt lacrymae rerum, mm. 1–8

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Example 5.7

RH3, mm. 9–16: Section A (repeat of the opening phrase)

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Example 5.8

RH3, mm. 28–40: second part of Section B and the Beginning of Section A’

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Example 5.9

RH3, mm. 58–66: Section A’B’ and codetta

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Example 5.10

Dialectical tonal process and modal transformation in RH3

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Example 5.11

First section (S1) from RH6’s allegro. A repeat sign is used here instead of a written-out first phrase (P1, mm. 104–111) and “D.C.” denotes a return to the B phrase (in this case P4, i.e. the beginning of S2)

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Example 5.12

A Schenkerian graph of RH6’s allegro. Repetition of detail is denoted by the symbol.

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Example 5.13

A reading of D-har/maj as the controlling tonic key in S1

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Example 5.14

(a) Alternative spellings for the hexachordal collection of the concluding cadence in D and of the vacillating cadence that follows (corresponding to mm. 120–26);


(b) a hypothetical and schematic representation of the tonal meaning of mm. 120–27. In 5.14a, white noteheads denote the tonic chord in each context; in 5.14b, white and black noteheads represent the real rhythmic values.

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Example 5.15

The idiomatic and tonal transformation of the concluding cadences in:

(a) S2, mm. 149–61;


(b) S3, mm. 188–94;


(c) S4, mm. 213–21. Cf. original version of these cadences in S1, ex. 5.11, mm. 120–26

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Example 5.16

(a) The finale’s tonal process. White arrowheads signify tonal directionality and white noteheads the tonic or possible perception of the tonic. Dotted stems denote doubtful structural status and dotted beams denote tonal ambiguity;

(b) the background structure according to (a)

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