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A comprehensive theory of chromatic ...

Kopp, David.

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A comprehensive theory of chromatic mediant relations in mid-nineteenth-century music.

Record Type:	Electronic resources : Monograph/item
Title/Author:	A comprehensive theory of chromatic mediant relations in mid-nineteenth-century music./
Author:	Kopp, David.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 1995,
Description:	468 p.
Notes:	Source: Dissertations Abstracts International, Volume: 58-05, Section: A.
Contained By:	Dissertations Abstracts International58-05A.
Subject:	Music. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9532728
ISBN:	9798209168218

A comprehensive theory of chromatic mediant relations in mid-nineteenth-century music.
Kopp, David.

A comprehensive theory of chromatic mediant relations in mid-nineteenth-century music. - Ann Arbor : ProQuest Dissertations & Theses, 1995 - 468 p.

Source: Dissertations Abstracts International, Volume: 58-05, Section: A.

Thesis (Ph.D.)--Brandeis University, 1995.

This item must not be sold to any third party vendors.

Chromatic third relations constitute a singular presence in tonal music and music theory. Their extraordinary sound and striking ability to assume structural as well as ornamental roles appear particularly remarkable given the challenge theorists have faced over time in satisfactorily describing and explaining them. Approaches to dealing with chromatic third relations have generally resorted to accommodating and redefining or rejecting them on the basis of existing theoretical systems. The point of departure for this study, in contrast, is the assumption that common-tone chromatic third relations form a distinct class of key-affirming functional relations. A taxonomy is developed which distinguishes these mediants from other classes of third relation, and allows for their description without interpreting them as variants or alterations of other chords. A review of historical approaches begins with Rameau but focuses on nineteenth-century theorists who articulated positive notions of chromatic mediants: Weber, Reicha, Marx, Hauptmann, and especially Riemann, who struggled for decades to reconcile his belief in direct chromatic third relations with his imperfectly receptive theoretical constructs. A broad examination of Riemann's theory explores this conflict and his eventual accommodation. The review continues with several twentieth-century theorists, including a study of the influence of the structure of Schenker's theory on its treatment of chromatic mediants. Consideration of more recent approaches focuses on the difficulties of reconciling the structural powers of chromatic mediants with concepts of tonic prolongation and diatonic scale degree. Among current approaches, the transformation theory developed by David Lewin provides an appropriate vehicle for formalizing chromatic mediants. This theory is adapted to reflect these and other direct common-tone relations, with fruitful results. Network diagrams and analytic sketches are developed to represent the harmonic activity of chromatic mediants, ranging from surface progressions to deeply structural relations. Normative contexts are investigated through numerous excerpts from mid-nineteenth century literature. Concluding the study, five extensive analyses of pieces from the period depict disparate, complex structural expressions of chromatic third relations. These analyses demonstrate the insight and ease of description made possible by the approach developed in this study.

ISBN: 9798209168218Subjects--Topical Terms:

516178
Music.
Subjects--Index Terms:

nineteenth century

A comprehensive theory of chromatic mediant relations in mid-nineteenth-century music.
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245 1 0 $a A comprehensive theory of chromatic mediant relations in mid-nineteenth-century music.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 1995
300 $a 468 p.
500 $a Source: Dissertations Abstracts International, Volume: 58-05, Section: A.
500 $a Publisher info.: Dissertation/Thesis.
500 $a Advisor: Keiler, Allan.
502 $a Thesis (Ph.D.)--Brandeis University, 1995.
506 $a This item must not be sold to any third party vendors.
506 $a This item must not be added to any third party search indexes.
520 $a Chromatic third relations constitute a singular presence in tonal music and music theory. Their extraordinary sound and striking ability to assume structural as well as ornamental roles appear particularly remarkable given the challenge theorists have faced over time in satisfactorily describing and explaining them. Approaches to dealing with chromatic third relations have generally resorted to accommodating and redefining or rejecting them on the basis of existing theoretical systems. The point of departure for this study, in contrast, is the assumption that common-tone chromatic third relations form a distinct class of key-affirming functional relations. A taxonomy is developed which distinguishes these mediants from other classes of third relation, and allows for their description without interpreting them as variants or alterations of other chords. A review of historical approaches begins with Rameau but focuses on nineteenth-century theorists who articulated positive notions of chromatic mediants: Weber, Reicha, Marx, Hauptmann, and especially Riemann, who struggled for decades to reconcile his belief in direct chromatic third relations with his imperfectly receptive theoretical constructs. A broad examination of Riemann's theory explores this conflict and his eventual accommodation. The review continues with several twentieth-century theorists, including a study of the influence of the structure of Schenker's theory on its treatment of chromatic mediants. Consideration of more recent approaches focuses on the difficulties of reconciling the structural powers of chromatic mediants with concepts of tonic prolongation and diatonic scale degree. Among current approaches, the transformation theory developed by David Lewin provides an appropriate vehicle for formalizing chromatic mediants. This theory is adapted to reflect these and other direct common-tone relations, with fruitful results. Network diagrams and analytic sketches are developed to represent the harmonic activity of chromatic mediants, ranging from surface progressions to deeply structural relations. Normative contexts are investigated through numerous excerpts from mid-nineteenth century literature. Concluding the study, five extensive analyses of pieces from the period depict disparate, complex structural expressions of chromatic third relations. These analyses demonstrate the insight and ease of description made possible by the approach developed in this study.
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