Topic
Tonicization
About: Tonicization is a research topic. Over the lifetime, 3 publications have been published within this topic receiving 111 citations. The topic is also known as: Tonicisation.
Papers
Book•
1 Jan 1984
TL;DR: In this article, the authors introduce the Triads and Seventh Chords, a triad-based approach for the analysis of non-Chord Tones in the context of music.
Abstract: Part I: Fundamentals Chapter 1: Elements of Pitch The Keyboard and Octave Registers Notation of the Staff The Major Scale The Major Key Signatures Minor Scale Minor Key Signatures Scale Degree Names Intervals Perfect, Major, and Minor Intervals Augmented and Diminished Intervals Inversion of Intervals Consonant and Dissonant Intervals Summary Variations Chapter 2: Elements of Rhythm Rhythm Durational Symbols Beat and Tempo Meter Division of the Beat Simple Time Signatures Compound Time Signatures Time Signatures Summarized More on Durational Symbols Summary Variations Chapter 3: Introduction to Triads and Seventh Chords Introduction Triads Seventh Chords Inversions of Chords Inversion Symbols and Figured Bass Lead Sheet Symbols Recognizing Chords in Various Textures Summary Variations Chapter 4: Diatonic Chords in Major and Minor Keys Introduction Diatonic Triads in Major The Minor Scale Diatonic Triads in Minor Diatonic Seventh Chords in Major Diatonic Seventh Chords in Minor Summary Variations Part II: Diatonic Triads Chapter 5: Principles of Voice Leading Introduction The Melodic Line Notating Chords Voicing a Singe Triad Parallel Motion Summary Variations Chapter 6: Root Position Part Writing Introduction Root Position Part Writing with Repeated Roots Root Position Part Writing with Roots a 4th (5th) Apart Root Position Part Writing with Roots a 3rd (6th) Apart Root Position Part Writing with Roots a 2nd (7th) Apart Instrumental Ranges and Transpositions Summary Chapter 7: Harmonic Progression Introduction Sequences and the Circle of Fifths The I and V Chords The II Chord The VI Chord The III Chord The VII Chord The IV Chord Common Exceptions Differences in the Minor Mode Progressions Involving Seventh Chords More About Harmonic Sequences Harmonizing a Simple Melody Conclusion Summary Chapter 8: Triads in First Inversion Introduction Bass Arpeggiation Substituted First Inversion Triads Inversions in Lead Sheets Parallel Sixth Chords Part Writing First Inversion Triads Soprano-Bass Counterpoint Summary Variations Chapter 9: Triads in Second Inversion Introduction Bass Arpeggiation and the Melodic Bass The Cadential Six-Four The Passing Six-Four The Pedal Six-Four Part Writing for Second Inversion Triads Summary Chapter 10: Cadences, Phrases, Periods, and Sentences Musical Form Cadences Cadences and Harmonic Rhythm Motives and Phrases Mozart: "An die Freude" Period Forms The Sentence Summary Chapter 11: Non Chord Tones 1 Introduction Classification of Non-Chord Tones Passing Tones Neighboring Tones Suspensions and Retardations Embellishing a Simple Texture Figured Bass and Lead Sheet Symbols Summary Chapter 12: Non-Chord Tones 2 Appoggiaturas Escape Tones The Neighbor Group Anticipations The Pedal Point Special Problems in the Analysis of Non-Chord Tones Summary Variations Part III: Diatonic Seventh Chords Chapter 13: The V7 Chord Introduction General Voice-Leading Considerations The Approach to the 7th The V7 in Root Position The V7 in Three Parts Other Resolutions of the V7 The Inverted V7 Chord The V6/5 Chord The V4/3 Chord The V4/2 Chord Summary Chapter 14: The II7 and VII7 Chords Introduction The II7 Chord The VII7 Chord in Major The VII7 Chord in Minor Summary Chapter 15: Other Diatonic Seventh Chords The IV7 Chord The VI7 Chord The I7 Chord The III7 Chord Seventh Chords and the Circle-of -Fifths Progression Summary Part IV: Chromaticism 1 Chapter 16: Secondary Functions 1 Chromaticism and Altered Chords Secondary Functions and Tonicization Secondary Dominant Chords Spelling Secondary Dominants Recognizing Secondary Dominants Secondary Dominants in Context Summary Variations Chapter 17: Secondary Functions 2 Secondary Leading-Tone Chords Spelling Secondary Leading-Tone Chords Recognizing Secondary Leading-Tone Chords Secondary Leading-Tone Chords in Context Sequences Involving Secondary Functions Deceptive Resolutions of Secondary Functions Other Secondary Functions Summary Chapter 18: Modulations Using Diatonic Common Chords Modulation and Change of Key Modulation and Tonicization Key Relationships Common-Chord Modulation Analyzing Common-Chord Modulation Summary Chapter 19: Some Other Modulatory Techniques Altered Chords as Common Chords Sequential Modulation Modulation by Common Tone Monophonic Modulation Direct Modulation Summary Chapter 20: Binary and Ternary Forms Formal Terminology Binary Forms Ternary Forms Rounded Binary Forms 12-Bar Blues Other Forms with a Ternary Design Sonata Form Rondo Form Summary Variations Part V: Chromaticism 2 Chapter 21: Mode Mixture and the Neapolitan Introduction Borrowed Chords in Minor Borrowed Chords in Major The Use of B-Flat 6 Other Borrowed Chords in Major Modulations Involving Mode Mixture and the Neapolitan Summary Variations Chapter 22: Augmented Sixth Chords The Interval of the Augmented Sixth The Italian Augmented Sixth Chord The French Augmented Sixth Chord The German Augmented Sixth Chord Other Uses of the Conventional Augmented Sixth Chords Other Bass Positions Summary Variations Chapter 23: Enharmonic Spellings and Enharmonic Modulations Enharmonic Spellings Enharmonic Reinterpretation Enharmonic Modulations Using the Major-Minor Seventh Sonority Enharmonic Modulations Using the Diminished Seventh Chord Other Examples of Enharmonicism Summary Variations Chapter 24: Further Elements of the Harmonic Vocabulary Introduction The Dominant with a Substituted 6th The Dominant with a Raised 5th Ninth, Eleventh, and Thirteenth Chords The Common-Tone Diminished Seventh Chord Simultaneities Coloristic Chord Progressions Summary Chapter 25: Tonal Harmony in the Late Nineteenth Century Introduction More About Mediants Mediant Chains and Other Combinations Counterpoint and Voice Leading Sequences and Other Systematic Procedures Summary Part IV: An Introduction to Twentieth-Century Music Chapter 26: Materials and Techniques Introduction Impressionism Scale Materials The Diatonic Modes Pentatonic Scales Synthetic Scales Chord Structure Extended Tertian Harmony Polyharmony Chord/Scale Connections Quartal and Secundal Harmony Other Concepts Parallelism Pandiatonicism Rhythm and Meter Summary Chapter 27: Post-Tonal Theory Introduction Basic Atonal Theory Normal Form Equivalence Relations and Mod 12 Transposition (Tn) and Inversion (TnI) Set Class and Prime Form Interval Vector Twelve-Tone Serialism Integral Serialism Summary Chapter Twenty-Eight: New Directions Introduction Explorations of Texture, Timbre, and Tuning Indeterminacy Minimalism Electronic and Computer Music Summary and Forward Look Appendix A Instrumental Ranges and Transpositions Appendix B Lead-Sheet Symbols Appendix C Set Class List Appendix D Answers to Self-Tests Index of Music Examples Subject Index Appendix C: Index of Music Examples Name Index Subject Index
156 citations
1 Jan 2016
TL;DR: Schenkerian theory has been used to explain tonal hierarchy with much more exactitude and sophistication as discussed by the authors, showing that local harmonies and even local keys in large-scale progressions are the products of melodic motion, and can be explained by voice leading patterns that originate in strict counterpoint.
Abstract: Prolongation of Dissonances One view of tonal hierarchy equates it with a plan of modulations. According to this idea, the keys through which a work modulates create a large-scale harmonic progression in the primary key. For example, modulation from C major to G major is interpreted as a modulation from I to V; or, as Donald Francis Tovey explained more generally with regard to sonata expositions, there is "a first group which asserts the tonic key, and a second group which . . . establishes another key, usually the dominant if the tonic was major . . . .'5l This level of insight into the large-scale hierarchy of tonal works can be gained from even a conventional harmonic approach. Schenkerian theory aims to explain tonal hierarchy with much more exactitude and sophistication. It shows that local harmonies and even local keys in large-scale progressions are the products of melodic motion, and can be explained by voice-leading patterns that originate in strict counterpoint. Schenker goes even further, claiming that because "local keys" only tonicize scale degrees (Stufen) of the main key, they do not really leave the original key at all. In some of his writings, Schenker seems to deny the idea of modulation altogether, in the name of monotonality.2 In fact, tonal hierarchy need not involve tonicization; a harmony may be prolonged even if it does not function as a local tonic.3 A non-tonicized harmony may even belong to a deeper level than a preceding tonicized harmony. Schenker's assertion that "in the so-called cadence I-IV-V-I in free composition, the V has preeminence because of its prior development as arpeggiation tone of the harmony"4 remains valid even if the IV (or another pre-dominant harmony) is tonicized and the V is not. A similar procedure can happen when other chords precede the V. For example, in Schubert's Moment Musical, op. 94 (D. 780), no. 2, bVIlb is the key of the entire contrasting section within the ternary form; but it is subordinate to the brief V7 that precedes the return to the tonic; see Example 1 (after Cadwallader and Gagne).5 In the Schubert example, V7 appears only after the chord that is subordinate to it, but non-tonicized harmonies are also capable of "full" prolongation (i.e., involving both departure from and return to the prolonged sonority). Such
2 citations
TL;DR: David Damschroder's provocative and expansive Harmony in Schubert offers an approach to harmonic process and meaning that confronts the authors' pedagogy, illuminates elusive details of SchUbert's harmonic language, and engages a diverse body ofSchubert scholarship in contexts provided by a number of the composer's best-known works.
Abstract: [1] David Damschroder's provocative and expansive Harmony in Schubert offers an approach to harmonic process and meaning that confronts our pedagogy, illuminates elusive details of Schubert's harmonic language, and engages a diverse body of Schubert scholarship in contexts provided by a number of the composer's best-known works.[2] In part one, Damschroder presents his methodology, taking us through chapters on harmonic and linear progressions, common prolongations and successions, and chords built on II, III, and those derived from modal mixture. Each of the next eight chapters, which comprise part two, focuses on an individual work of Schubert's that has been the subject of analytical commentary in the published literature, allowing Damschroder to hold up each analysis in turn as a foil for his alternative reading.[3] Damschroder's analytical sensibility is thoroughly Schenkerian, but he grafts onto this an approach to Schubert's harmonic language, and an analytical nomenclature, derived from the nineteenth-century Stufentheorie tradition. Jettisoned from our standard-practice Roman-numeral/figured-bass alloy are, most notably, indications of secondary or applied function and figured-bass numbers used to indicate chordal inversion. For example, an A-major triad in G major is not V/V, but II; that is, the Roman numeral invariably corresponds to the scale degree of the chord's root in the governing key. And modifications to chord members are shown with numbers and accidentals counting above the root, not above the bass tone; so, A-C-E-G in G major, with, say, G in the bass, is simply IInot II(or V/V).In addition, upper-case Roman numerals are used exclusively, and national and regional names for the augmented-sixth chords and II, are avoided.Example 1[4] An advantage of this approach is that it can often provide particular insight into harmonic process. Consider the succession of chords given in Example 1. Directly beneath the staff is a conventional harmonic description. Note that the analysis using Damschroder's approach, given beneath that, preserves the "parent" chord designation (II) through the chromatic evolution of the supertonic harmony, and in so doing illuminates a process that is obscured-or at least deemphasized-by the more usual nomenclature. Consider further that in a given context these chords may not occur adjacently, but rather may give shape to a significant musical span, with each stage in the evolution connected to the next by other chords that arise through voice-leading motions. In such a case, the process of an evolving supertonic harmony would almost surely be lost on conventional analysis, making Damschroder's method all the more penetrating.[5] In the book's preface, Damschroder calls for the general adoption of this new approach to harmony in the undergraduate classroom, appealing to our "pedagogical branch to develop the resources to align itself better with the speculative branch" (x). It is an intriguing idea, given the benefits described in the context above. Of course, benefits and shortcomings can reverse polarity with a change of context. An analytical approach, like Damschroder's, that accounts for altered tones chromatically in the home key is less sensitive to context than one that explains such tones diatonically in a secondary key if, in fact, that context involves modulation to the secondary key. Damschroder eschews the practice of labeling tonicizations with secondary-dominant chords because he feels that this creates the misleading impression of a shift of tonal center. While his objection is well-taken, still, the difference between tonicization and modulation is quantitative, not qualitative. The processes themselves, that is, are identical; differences between the two are those of emphasis, placement, and/or duration. If a given context does involve such a shift-say, a modulation to the key of the dominant-then it is important for our students to know, and to indicate analytically, that II is V/V. …
2 citations
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| Year | Papers |
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| 2016 | 1 |
| 2012 | 1 |
| 1984 | 1 |