Académique Documents
Professionnel Documents
Culture Documents
MODELS
FOR STYLE ANALYSIS
In memory of
Jan LaRue (19182004)
and
For Bathia Churgin,
exemplary scholar and dear friend
CONTENTS
MODEL 1
MODEL 2
MODEL 3
MODEL 4
MODEL 5
MODEL 6
MODEL 6A
MODEL 7
MODEL 8
MODEL 9
MODEL 10
MODEL 11
DEDICATION
iii
vii
INTRODUCTION
Gregorian Chant
Kyrie IX (Liber Usualis 40)
Latin Motet
Dominator Ecce Domino (School of Notre Dame) (c.1225)
10
Isorhythmic Motet
Guillaume de Machaut, Sil estoit nulz (c.1350)
13
Madrigal
Giovanni da Florentia, Nel mezzo (c.1350)
19
Chanson
Gilles Binchois, De plus en plus (c.1440)
22
Motet
Josquin de Prez, Tu pauperum refugium (after 1505)
25
32
33
Sonata
Giovanni Gabrieli, Sonata piane forte (1597)
37
Sonata
Arcangelo Corelli, Sonata in E minor, Op. 5, No. 8/I (1700)
42
Air
G.F. Handel, Evry Valley (Messiah) (1742)
46
Sonata
F.J. Haydn, Sonata, No. 4, Hob. XVI/G1 (before 1766)
54
MODEL 11A
MODEL 12
MODEL 12A
MODEL 13
MODEL 13A
MODEL 14
MODEL 15
60
Lied
Robert Schumann, Das verlassne Mgdelein, Op. 64, No. 2 (1847)
62
67
Prelude
Claude Debussy, Des pas sur la neige (Preludes, Book I/6) (1916)
69
74
Piano Variation
Anton von Webern, Piano Variation, Op. 27, No. 2 (1936)
76
82
EDITORS PREFACE TO
THE EXPANDED SECOND EDITION
In 1946 Jan LaRue returned from the War to resume his teaching career at Wellesley College. With little
time for transition to civilian life (a former student remembers his arrival at their first class in army uniform)
he plunged immediately into a heavy teaching schedule. Along with Music History 101 there were specialized
period courses, running the gamut from medieval to contemporary music. He needed to devise an analytic
framework that would help organize his thoughts about the varied music he was discussing. Thus the fivecomponent structure, SHMRG (Sound, Harmony, Melody, Rhythm, Growth) was born and later became the
basis and essence of Guidelines for Style Analysis.
LaRue spent the years from 1946 to 1970, when the first edition of Guidelines was published (W.W.
Norton & Co.), refining, expanding, redefining terms, and polishing analytic technique. He accomplished
this through classroom work as well as discussions with students, assistants, and colleagues. At the same
time, he was actively publishing articles on various aspects of analyzing musical style. Finally, in 1970,
LaRue was ready to introduce his full approach to the wider musical world.
The second edition (Harmonie Park Press, 1992; fifth printing, 2008) (see pp. xvii ff), clarifies some of
the most complex ideas set forth in the first edition, perhaps most notably his views on rhythmic theory. Also
in this edition LaRue shares with his readers suggestions for clear, articulate, musicological prose writing,
which he had taught in his classes and which his students found immensely valuable. These additions appear
in the latter pages of the edition (see pp. 248 ff).
From the beginning of his work on Guidelines, LaRue had planned a companion volume, Models for Style
Analysis, containing detailed analyses of Western music from all style periods. This volume would serve as
concrete illustration of the theories and methods discussed in Guidelines. At first, he also planned an accompanying workbook with questions and problems to be used in the classroom and with a teachers manual, the
material drawn from his own classroom notes (see Preface to the first edition, p. xxiii). Unfortunately this
never came to pass, but perhaps someone in the next generation of analysts will produce one.
LaRue had completed the analyses that now comprise Models in Style Analysis in the mid-1970s, but he
postponed publishing the volume, because he could never decide on a final format that suited him. His
primary problem was finding a way to display the music on an opening directly across from the analysis, so
the student could see both simultaneously, without turning pages. LaRue considered many versions, including
ones with tear-out or fold-out pages, all of which found their way to the circular file. None was totally
satisfactory, and years passed without completion of Models. Now, the available modern technology has solved
his quandary. Inside the back cover of this expanded second edition, the reader will find Models for Style
Analysis produced on a compact disc. The music and/or text can thus be read and studied on a computer and/
or printed out, to suit the readers needs.
Finally, under the generous auspices of Harmonie Park Press, LaRues vision for the project is complete:
Guidelines and Models published together for the first time. However, some editorial comments need to be
viii
recorded here, with regard to the versions of music used for the analysis. Particularly with pieces from the
earlier stylistic periods (Models 110), the editions are not the most up-to-date. Many of these were adapted
from Archibald T. Davison and Willi Apel, Historical Anthology of Music I (Harvard University Press, 1949;
reprinted, 1972), the volume used in LaRues style analysis course. After much thought and discussion with
several of LaRues former students and colleagues, the decision was made to print the music and analyses
unchanged from those left by LaRue. The rationale was the following: these models are not to be considered
definitive analyses of specific pieces, but rather illustrations of LaRues analytic approach, based on the music
then at hand. It will be left for others to take his methods and apply them to the latest editions of pieces. This
volume, then, stands as a sort of historical document in the annals of style analysis and valuable in itself for
the uniform approach it provides for studies of individual pieces and repertories from all style periods.
One of the ways LaRue used Models was to study each model in class, then have the student write a
prose summary of conclusions, and further to produce an analysis of a parallel piece, to be compared with the
original model. Several of these parallel pieces have been included in this edition of Models: for Model 6,
a Josquin motet and Model 6a, a Palestrina motet; for Model 11, a Haydn sonata and Model 11a, another
Haydn sonata; for Model 12, a Schumann Lied and Model 12a, a Lied by Wolf on the same text; and for
Model 13, a Debussy Prelude and Model 13a, another Debussy Prelude.
LaRue writes in the Introduction to Models (see compact disc, p. 2) that the pieces need not be used in
chronological order, but rather in some conceptual sequence to fit a particular teachers or students purposes.
In introductory music history or style analysis courses however, I and other instructors have found that a
chronological sequence is in fact most useful. The student has the chance to become more adept at analytic
technique before attempting to deal with more complex later compositions.
Over the course of nearly a half-century, LaRue interacted with numerous students and colleagues, all
of whom contributed directly or indirectly to the evolution of Guidelines and Models. He recorded his debt to
those most important to him in the Prefaces to the first and second editions of Guidelines. You will see the
names of some of them mentioned again here. LaRue was fiercely loyal to his musicological friends, and that
loyalty continued to be reciprocated by them throughout his lifetime.
Sandra Rosenblum, the noted scholar of performance practice and the music of Chopin, was one of his
earliest students at Wellesley, and they corresponded on analytic topics over the entire fifty-year period.
Bathia Churgin, professor emerita at Bar Ilan University, well-known for her brilliant work on Sammartini
and Beethoven, met LaRue while she was a Ph.D. candidate at Harvard and he was teaching at Wellesley. The
close relationship that developed then only intensified over the years. Churgin championed the cause of style
analysis with her students, many of whom have become prominent scholars in their own right. In 1980,
Churgin sponsored a graduate seminar at Bar Ilan, taught by LaRue, based on Models for Style Analysis, which
was received with much success. Her frequent conversations with LaRue, in person or by telephone from
Vassar and Israel stimulated, encouraged, and cheered him, even in the difficult days of his last illness. Their
copious correspondence fills a large dossier in his files and would make a fascinating volume in itself. I would
not have been able to complete this edition without her ever-present emotional support, and thus, I dedicate
Models to her.
The late Eugene Wolf, professor at University of Pennsylvania, specialist in Stamitz and eighteenthcentury manuscript studies, was LaRues first graduate assistant at New York University and worked closely
with him during the gestation of Guidelines. Their friendship deepened while Wolf and his wife Jean, another
ix
LaRue student, accompanied him on a year-long research trip to Europe. Once home the relationship continued
full force until Wolfs untimely death.
Lawrence Bernstein, professor emeritus at University of Pennsylvania, known for his work on the Parisian
chanson and the works of Haydn, was in some of LaRues earliest classes at NYU and became one of the most
fervent disciples of LaRues style-analytical approach. Bernsteins impeccable scholarship and sharp editorial
eye were appreciated by LaRue, who consulted with him on Guidelines, Models, and other projects and was
always grateful for Bernsteins abiding interest and concern.
Floyd Grave, professor at Rutgers University, noted for his studies of Mozart, Haydn, and eighteenthcentury theorists, arrived at NYU as a graduate student in 1966 and became LaRues third assistant. As an
instructor at University College of NYU he taught LaRues analytic method in all his courses, and his doctoral
dissertation on Mozart piano concertos was an inspired example of style analysis in full action. Grave and his
wife, Margaret Grupp, also a LaRue student, continued conversations, correspondence, and visits with him
that stimulated and sustained him till the end of his life.
David Cannata, professor at Temple University, a noted Rachmaninoff scholar and pianist, came to
NYU from San Francisco in the 1980s to continue his graduate career. He became LaRues assistant and
closest student ally from that time forward. Sharing an aberration for bow ties and fine wine, their friendship
deepened and LaRue depended on Cannatas clear-eyed advice, unswerving enthusiasm, and rapier wit, during
the completion of the Catalogue of 18th-Century Symphonies (Indiana University Press) and ever afterward.
Cannatas frequent visits during LaRues illness were a remarkable tonic and reassuring bond.
Rena Charnin Mueller, professor at New York University, a specialist in the music of Liszt, began the
graduate program at NYU in 1965. At that time and for many years afterward she served as department
assistant and then administrator. She helped LaRue in more ways than one can adequately recount throughout
the writing of Guidelines and Models. Along with her husband, David Cannata, she provided emotional and
practical support throughout LaRues life.
The late A. Peter Brown, professor at Indiana University, known for his fine work on the eighteenthcentury symphony and concerto, was never a formal student of LaRue. However, he traveled from his home
in Hawaii to study with LaRue in summers and became one of the staunchest proponents of style analysis. Many
of his suggestions were incorporated both into Guidelines and Models. LaRue cherished their relationship.
Michael Campbell, professor emeritus at Western Illinois University, writer on popular music and jazz
and a brilliant pianist, was also not a formal LaRue student. However during an NEH seminar given by
LaRue at NYU in the late 1970s, they began a collegial relationship and close friendship that continued to
stimulate and inspire LaRue as long as he lived. He often said that Campbell knew more about Guidelines
than he did.
Now we come to an editors dilemma: Lawrence Bernstein, a pre-eminent editor of journals and books
once told me that an editor should stay in the background and not intrude on the work at hand. I remembered
this and tried to follow the precept during my editorship of The Journal of Musicology. Now, however, the
situation is somewhat different. I am editor of this version of Models, as well as one of LaRues early students,
his second assistant at NYU (1966), later a colleague, and finally his wife. Therefore, Ive decided it is not
inappropriate to write a few words from my own perspective. During my first year in the Ph.D. program,
I took LaRues Style Analysis course. As it progressed, I was amazed at how powerful a tool it provided for
gaining a truly comprehensive view of individual pieces, oeuvres, composers, and repertories of all historical
periods. Once the style analytic routine became second-nature, I was able to use it not only in class assignments,
but also in preparation for exams, including my Ph.D. comprehensives, in paper- and later, article-writing,
and most important in any success I achieved during my teaching career. It has without a doubt been the
most valuable concept I learned in graduate studies. I am grateful for the opportunity I had to help with and
to witness the creation of Guidelines and Models.
It was Jans greatest wish to see Models in print, and I am glad finally that has come to pass, even
if not in the state of near-perfection that marked all his other work. I hope he and you will forgive any of the
imperfection herein and will celebrate the availability of this invaluable tool for the deeper understanding of
all music.
Copious thanks are due to the several people directly connected with the publication of Models for Style
Analysis. Jenny Beck, an advanced graduate student in composition at Rutgers University has transformed
a sometimes nearly illegible manuscript into clear final copy. Her expert preparation of the music examples
and difficult diagrams has been stellar, and I am grateful for her willingness to help with this project.
Dr. Susan Parisi, series editor at Harmonie Park Press, has with a firm but gentle hand shepherded me
through the publication process. I am unendingly appreciative of her expertise and of her friendship.
I express my thanks also to Colleen McRorie, who skillfully set the volume in type and from whose
careful attention to detail the volume benefited significantly.
Last, I should like to bestow a medal of honor on Elaine Gorzelski, president of Harmonie Park Press,
who has enthusiastically supported Models as she did the second edition of Guidelines. Without her confidence in the project and her generous encouragement, publication would not have been possible. She has my
heartfelt gratitude.
INTRODUCTION
Many of us believe that of all the fine arts, music most powerfully affects the human spirit. Less immediate
than visual appeals, less definable than poetry and literature, more open to individual response than film,
music seems to move in complexly related channels that closely parallel the processes of human psychology
and physiology. As we listen to a piece of music, we sense an indefinable similarity to bodily rhythms in the
sequencing and timing of the musical experience. We feel a kinship to the motions of heart, breathing,
gesture, and even the interplay between ideas. Music mirrors the fundamental actions of starting, acceleration,
deceleration, and stopping. Most strikingly, the interrelationships we experience in listening to music
mysteriously parallel many emotional currents encountered in the general flow of life. The primal appeal of
music lies in these unspecifiable connections to the stream of human consciousness.
In exploring the mysteries of music one quickly senses the limits of rational analysis to explain the
tides of emotion. Nevertheless, knowledge underlies much of our emotional response and augments our
pleasure in perceiving the definable aspects of musical experience. In learning to play an instrument we
deepen our appreciation of great performers; sitting in a chamber group we become more sensitized to the
miraculous coordinations of symphony orchestras. All such experiences help to expand the musical ear, but
the advance of our aural sophistication needs an organizing principle. Though musical theory includes
many types of analysis, a single principle must serve as our constant point of reference: music is a complexly
interrelated whole, not a series of separate subjects, such as harmony or orchestration. While every type of
analysis makes its special contribution, these aspects must be related to the whole web of musical experience.
Only in this way can we achieve a genuinely comprehensive analysis.
Folk wisdom tells us that theory is easier than practice, and anyone who has tried both will certainly
agree. In theorizing, the writer need only attempt to control and organize his own imaginationadmittedly
not always an easy task. In practice, however, he must deal with two other imaginations, those of the
composer and the performer/reader/listenerthe ultimate consumer. The time lapse between this book
and its predecessor, Guidelines for Style Analysis (W.W. Norton, 1970; second edition, Harmonie Park Press,
1992) bears witness to the time-consuming difficulties encountered in attempts to explain the composer to
the consumer in terms that are both comprehensive and comprehendible, i.e. wide-ranging in applicability
but sufficiently simple in basic principles so that many levels of experience can be served. Toward this goal,
most of the Models have passed through numerous cycles of classroom testing, rethinking, and rewriting,
and then further testing.
The Guidelines enabled many musicians to discover unsuspected depths and complexities in their own
perceptions of a piece of music, sometimes an almost embarrassing wealth of observations. These rewarding
discoveries, however, quickly uncovered a complementary need to organize musical perceptions in a logical
order, both for fuller understanding and for communication to other musicians and music-lovers. In devising a fruitful approach to this age-old analysis/synthesis problem, the Models follow a strategy of immediate
grouping of SHMRG1 perceptions, channeling related phenomena already in the observational phase to relevant
categories, the quadrant framework described below. In this way related points fall naturally together,
conveniently ready for the determination of central characteristics that will be emphasized in the conclusions.
It cannot be overemphasized that the Guidelines and the Models do not present any rigid methods
whatever but rather, an open-ended framework intended to help any persons interested in music to extend
and deepen their musical experience. The idea that analysis can damage the subjective experience has not
been verified by any research known to the writer, nor in any aspect of his own work or that of any pupil or
associate who has taken the trouble to do careful and extended work in analysis. It should be noted that
persons who make negative statements about analysis have often so carefully avoided contamination that
they have no knowledge or experience of analysis on which to base their statements. A person with true
reverence for music will not fear damage from greater understanding, nor will he feel satisfied to stop with
purely instinctive reactions.2 To the contrary, the fuller analytic understanding of the works of music, great
or small, can raise the level of their emotional impact to almost painfully exquisite heights.
No approach to analysis, of course, can yet reach into the secret recesses of subjective responses. Though
the Models, therefore, make no attempt to reflect these responses, every outline of conclusions includes at
the end a heading, 00. Special Personal Impression, in recognition of the vitality and ultimate authority
of our subjective responses beyond all the avenues of rational exploration.
The wide applicability of the categorical framework recommended in the Guidelines has repeatedly
been demonstrated in the experience of music majors who go on to graduate work in fields other than
music. Here they find that translations or adaptations of SHMRG and even of Shape and Movement can
provide startlingly good results in fields as diverse as art history and law. In art one must remember that
Shape is actual while Movement is imaginary, the reverse of music; but dimensions, color, dynamics, line,
and even rhythm translate easily into art-critical concepts. In law the idea of a controlling large-dimensional
concept, to which a series of evidential facets contribute, seems completely usual to any disciple of SHMRG.
The present Models for Style Analysis are intended as a complement to the Guidelines for Style Analysis.
Branching out from Chapter 9 of the earlier book (Style Analysis in Full Action), each project here includes
a group of analytic procedurestimelines, observation charts, and prose outlines for commentarycarried
out with respect to one example so as to furnish a direct working model for completing assignments on a
parallel piece or problem. These guided exercises provide constant direct involvement with actual music,
illustrating the general principles laid down in the Guidelines more fully by means of a broad chronological
spread in the selection of examples.
Though arranged for convenience in chronological order, the fifteen Models (all complete pieces or
movements) can be used as the basis for a semester course or for reference with regard to a particular period.
They are not necessarily intended to be approached in historical order, but rather in some conceptual sequence
SHMRG (pronounced Shmerg) is the mnemonic used in the Guidelines to refer to the elements of music: Sound Harmony
Melody Rhythm and Growth. The order of SHMRG emerged from many actual listening experiments as an approach most
likely to generate useful observations and help us remember the piece as a total context for these observations. An alternation
between complexity and simplicity seems to facilitate this process. Sound is easiest to notice and remember; specifics of Harmony,
however, require intense concentration and tenacious ear memory; Melody is easier, a relief before we attempt to untangle the
layers of Rhythm, the eternal ambiguity between regularity of meter and competing irregularities from other perspectives. Finally,
Growth Processes clearly come last because they survey the total musical progress, including interactions among other perspectives.
2
Even the concept of instinctive reactions may be challenged on the ground that all music is a learned response. As an obvious
example one may cite the differences between occidental and oriental scale patterns, which cannot be explained as instinctive.
Introduction
that fits the particular instructors or students needs. At New York University I changed the order every
year to attempt to avoid falling into stereotypes. For example, one year the order was as follows:
1. Introduction to style-analytic thinking: Haydn, Kyrie, Varse.
2. Representative periods: Josquin, Binchois, Corelli, Handel, Schumann, Debussy, Webern.
3. Supplementary models: Latin motet, Florentia, Machaut, English Dompe, Gabrieli.
Shape
Movement
4. Details of intensification.
The new Cue Sheet takes the above quadrant format as its basic framework and re-arranges the details
of the original cue sheet accordingly. The observations from the New Cue Sheet clearly should be maintained
in quadrant formation: the Observation Sheet should be a direct reflection of this format; but since many
short cues lead to more extended observations, it will often be more practical to reserve one observation
sheet for large-dimension characteristics and a second sheet for small-to-middle dimensions.
It has been found useful to group at the top of the Cue Sheet (and hence on the Observation Sheet)
various kinds of information (General) that do not necessarily concern Shape or Movement, but which
nevertheless may be needed for purposes of identification, statistics, and other bibliographical matters. These
include title, library location, manuscript description or imprint data, key, meter, instrumentation, vocal
components, author of the text, poetic form, and the like.
Introduction
TEXT DETAILS: Coordination of affect; word setting; meter and rhythm; punctuation; climax.
General
Large Shape
Large Movement
Small Shape
Small Movement
Brief final summary, general impression, or particular feature.
The final rubric above (00) has been added to the quadrant as an effective way of bringing the essay
to a close. Often the selection of a particular passage for special comment will form a natural thematic
thread for the final paragraph.
The problem of arranging observations in order of importance within each quadrant can be made
somewhat easier by marking A opposite the most important points, B opposite the next most important,
and C opposite details of lesser significance. In this way the final outline for conclusions in each quadrant
(which will not necessarily be in SHMRG order, and may not even include all elements in all quadrants) will
be comparatively easy to construct.
MODEL 1
___________
Gregorian Chant
Observations
GENERAL: Gregorian chant for male choir on a Greek-derived Latin text. Mode 2 (Hypodorian) in its
range (note low A in phrase 2) though numbered 1 in the Liber usualis, i.e. Dorian.
LARGE
Shape
Movement
Subtle crescendo of interest toward third sentence produced by rising tessitura, peak D1
(emphasized by repetition in Kyrie 6), then
smoothly winding down by means of prolonged
melismatic treatment of the final e.
NOTE: Owing to the small size of the piece, the material within the parts is already of
Progression of interest at beginning from soloist to chorus at asterisk: implied dynamics from
this expansion and also from rise and fall of line.
9
melismatic beginnings tend to continue with
syllabic eleisons; Kyries that begin syllabically
may end neumatically or even melismatically.
Outline of Conclusions
[Large Shape]
[Large Movement]
[Small Movement]
[Small Movement]
10
MODEL 2
___________
Latin Motet
Dominator Ecce Domino (Motet)
11
Observations
GENERAL: 13th-century Latin motet based on a plainsong tenor melisma (Dominosee HAM 28a)
which has been cut into 5-note segments to fit the basic patterning (ordo: h q) of the first rhythmic mode
(trochaic). Two upper parts with riming Latin texts have been added, also in first mode, but with more
flexible patterns. The texts are unified in praising God and the Virgin Mary, both ending with the tenor
word, Domino.
LARGE
Shape
Tenor A2-A1; duplum
D1-D
Movement
1;
triplum
C1-E1.
Firm D tone-center.
12
S
Introduction (General Observations, plus range from Large/S and consonance from Small/H).
(a) Tenor-controlled, three-level motet.
1. Tenor melisma (Domino) presented twice in 5-note trochaic segments (2d ordo) omitting 5
lesser cadential notes of the original plainsong (14).
2. Unclear punctuation because duplum and triplum phrases overlap tenor and each other.
3. Consistent, unvarying (somewhat dull) effect (despite II. below) because of steady flow of impacts
(95/98 in the two parts), repetitive tenor patterns, nearly identical range of upper voices, oscillation
around D tone-center, neighbor embellishments.
II.
(a) Fine directional movement of individual voices.
1. Melodic balance particularly skillful (plainsong background?): tenor expands gradually from D
to upper and lower A; duplum and triplum balance contours between short phrases, within
larger phrases; balanced recurrence of peak phrase and descent of triplum (cf. 914 vs. 2431).
Triplum phrase peaks: Bb, C, D/E; D, E.
2. General activity increase in 2nd part: fewer rests, longer phrases (triplum 4 3 7 8 9 duplum 4 4
4 4 4 5 6), more offbeat dissonance.
(b) Lack of coordination between parts masks interest of individual lines.
1. Reciprocal movement of duplum and triplum within same range tends to neutralize both lines.
2. Dissonance not effectively related to phrasingseems random.
3. Phrase overlap vs. sudden textural gaps (4, 11) = overcontinuity vs. undercontinuity.
III. Vestiges of parallelism (2, 11) vs. hints of imitation (2425) and independent motion.
IV.
(a) Individual phrases of upper parts show some cadential drive (mode fractions).
(b) Considerable variety gives general, unorganized sense of motion.
(c) Strong stabilization of 1st beat by perfect consonances and limited textural choicesmainly 5th
and 8ve; this treatment emphasizes the bar unit unduly.
00. Summing-up: special personal impression.
13
MODEL 3
___________
Guillaume de Machaut
Sil estoit nulz Samours Et gaudebit
Isorhymthic Motet
14
MODEL 3 continued
___________
15
MODEL 3 continued
___________
16
Observations
GENERAL: French isorhythmic motet, three parts (vocal superius C1-D2 and duplum B1-C2; instrumental
tenor G1-D1), based on mixolydian mode plainsong. Superius text = 10-syllable couplets separated by a
third line (eleven or twelve syllables) and recurring rime: 112 332 332 / 552 552 662. Duplum text = two
riming 7-syllable lines in a nearly symmetrical arrangement: 12 1221/*1221 121 (*repetition of the color at
the center of the piece splits this line).
LARGE
Shape
Isostructure: two parts, each 3 phrs; color
(M line of tenor) rpts at midpt (49), tenor R
pattern (talea) rpts (16, 31), then after only one
unit of a 3rd repeat, changes at midpt to a
variant (t1), with rpts.
Movement
Overlaps = continuity: sup phr precedes, dup
follows talea puncts.
Peak, long note, wide spread coincide (37).
MIDDLE SMALL
17
Timeline
(mixo.)
Superius Text:
Line rime
1...
[Pt. I]
2
3
4
5
[Pt. II]
6
7
Rimes
deust
retraire
enamourer
rejoir
prison
eusse
respit
Pattern
Duplum Text:
Line rime
1...
2...
Rimes
Pattern
joir
faisoit
12 1221
1221 121
S
= Superius
M = Motetus
T/C = Tenor talea/color
Outline of Conclusions
0.
I.
18
MODEL 4 Madrigal
19
MODEL 4
___________
Madrigal
20
Observations
GENERAL: Italian 11-line madrigal. 2 vcs, tenor (G1-A1) and bass (C1-D1). No overlap or crossing.
N,Fixed
End words
Line rime
Music
Bar
Harmonic
Center
Verse
A
bianco
Lr 1
Pa
A
penna
2
b
13
spenna
2
c
28
AD
a
bellezza
Lr 3
Pa1
A
colore
4
b1
13
amore
4
c1
28
AD
a
guardando
Lr 5
Pa2
A
parte
6
b2
13
arte
6
c2
28
Ritornello
B
b
canto
manto
Lr 7
7
Sa
a1
43
43
AD
DA
DA
LARGE
Shape
Movement
MIDDLE SMALL
MODEL 4 Madrigal
21
G
Outline of Conclusions
0.
I.
II.
(a) Directionality: increasing expressivity from progressively longer and more complex phraseend melismas (most active: 3442 = end of verse); extremes of texture: bass range extended up to
D1 (51).
(b) Strong motion from alternation of active syllabic/neumatic areas with melismas = pumping/coasting
effect.
III.
(a) Consistent phrase shape w/effective activity profile: held note(s), short melisma, syllabic area, longer
melisma. Phr differentiation by expansion/contraction of tess.;
(b) Long text lines carry through several music phrases, producing some conflicts of punctuation (25).
(c) M & R patterning: free and exact sequencing (23, 36/37, 39/40, 53/54).
(d) Fleck unification, esp recurrent double NN (EFED), cadence R (3/4, 5/6).
(e) Hints of part exchange (28-filler), bass 52 vs tenor 53 .
IV.
(a) Quasi-ostinato bass: elaboration of A1-D1-A1 framework in verse section, D1-B1-D1-D1-A1
(b) Highly elaborated, churning stepwise line (34f).
22
MODEL 5
___________
Binchois
De plus en plus
text
music
Chanson (c.1440)
MODEL 5 Chanson
23
Observations
Rondeau text, fixed form AB aA ab AB (AB = 998-89 syllable-line scheme, two rimes
(-elle, -ir). 3 voices, superius G1-C1, tenor and contra both C1-E1. 6/4 with some 3/2
(see Large R).
BACKGROUND
LARGE
Shape
Movement
G
Fleck unification by small recurrent motives such as fourth fillers (CT sounds like diminuted imitation of S in
5/6, 10/11) and desc. triad (CT 1&5; T&CT 16). These flecks may all be coincidental results of recurrent
motivic vocab. of 15th century.
MIDDLE SMALL
Textural action, not necessarily directional. Partcrossing may obscure lines: S is lowest voice in
9, 16. Upward leaps 11, 16 give disconnected
effect.
low. . .higher
24
offbeat = q q. e
Outline of Conclusions
0.
I.
II.
III.
IV.
00.
General
Strong central punctuation separates 3 A phrases from 2 B phrases (A/B symbols from French
formes fixes), confirmed by:
(a) line rimes (see Florentia TL schemes);
(b) final open-fifth B cadence vs. upper third A cadence;
(c) general rise-fall contour of A vs. fall-rise of B;
(d) balancing areas of low superius range;
(e) similar terminal phrases: split-level (low-high) contour.
(f ) consistent C/Dm tone-centers (modal, non-directional see TL).
Somewhat erratic movement
(a) first two charming, skillful phrases (early peak C2, greatest spread, profiled CR, V/V-V vs. I: response)
overbalance remainder of piece.
(b) Confusion of textural and melodic orientation when superius crosses below (9, 16)
Advanced internal structure of phrases:
(a) Coordination of M and R activity, approx. two surge/retract cycles per phrase.
(b) Unusually clear definition by cadence stabilization.
(c) Differential punctuation (long notes vs. CT movt.) = modest phrase hierarchy.
Remarkable liveliness from:
(a) Cons/diss cords. with strong/weak beats = smooth flow (also in chord R).
(b) Cadence elaboration = special focus
1. M+R drive to cadence (note desc 6th chordsfauxbourdon remnants).
2. Many types: 761, LT/DLT, open/close, stable/active.
(c) Inventive line devel: unfolding (1, 56); playoff 3/2 vs. 6/4 pre-hemiolic); reciprocal motives (onbeat
q. e q vs. offbeat q q. e: 13, reversed in 1819).
(d) High proportion of full chords gives new dissonance opportunities, richer effect.
(e) Only rudimentary imit (S+T: 13)
Special impression
MODEL 6 Motet
25
MODEL 6
___________
26
MODEL 6 continued
___________
MODEL 6 Motet
27
Four-voice motet, Part II of Magnus es Tu, Domine. Chain process with many internal connections (cf. lf/34f;
1ff/50ff). For such chain processes, thematic function is not sufficiently definite to justify symbols such as
PTSK. Internal connections would justify Pa. . .b. . .c. . ., but Josquins strong punctuations make A. . .
B. . .C. . . (capital letters) best choice to express the independent phrasing. Small letters alone (a, b, c) would
be somewhat inaccurate, since they suggest parts of some larger function such as P or S.
4 Em Tone-Center
4
Am
Em
3 Em
2
2 Am
2
Am
Em
28
Overview
On first sight the motet apparently divides by time-signatures into three main sections, but actually
the first section, in 2/2 time, occupies nearly half of the piece (33 of 69 bars). After two interior cadences on
the 4th degree (A, 1011 & 2021) the piece moves back to the E-minor area with less decisive cadences
(2627, 32, 33) at the same time tapering down to three voices (15) and then paired voice (SA, TB). The
central reduction to a unison makes clear that despite the E-minor environment, the piece is not finished. The
3/2 continuation then starts like a recap, with a strong cadence. The 4/4 section, after one more paired
exchange, moves back in a series of short interjections from A to the E center, harmonically closing where the
motet started.
Despite the changing time-signatures, the Shape evolved by these three sections is not convincingly
described as three-part (ABA) but rather as two-part (A: A1 A2) in a 2:1:1 relationship of lengths: a statement
followed by echoes, variants, and developments of earlier material (compare 2427 with 4650; 1719 with
64-66.).
EDITORS NOTE: There is no extant outline of observations in LaRues manuscript. Instead he has written
observations in the style of a prose summary. See the following pages.
Observations
S
Voice ranges: S: C-D2, A: D1-A, T: C1-D, B: A2-A1. Restrained effect of voices in low and limited
ranges: Alto down to D1 (22), S never above D2 (24). Josquin makes effective use of homorhythmic
chord progressions, first to establish general moodsthe melancholy minor environment at the beginning
of this motet; then more specifically to bring out the structure and sentiment of the text by contrasting
homorhythmic against contrapuntal settings (11&17) or full chorus vs. paired voices (41&46) in response
format.Great variety of textures maintains constantly new interest: color-contrast from open and
close spacing of voices: the rising B (34) to a fresh major chord may express the hopeful text (refuge of
the poor). In a larger dimension, the ear-catching reduction from 4 to 2 paired voices: S&A opening
wide (2122) answered by T&B (27), ends in a low unison (33), an ultimate reduction to one line that
marks the conclusion of the first section.Striking effects: T&S octave leaps in parallel 10ths (89) or
close imitation (6162) = spotlighted textures or vocal italics; parallel thirds (S&T 6061) emphasize
first point of imitation, accentuated entries on offbeats after rest and leap (A23, S24).Strategic rests
set off phrases, greater frequency of rests intensifies chains of short subphrases (46, 50).
Predominantly minor environment, modal progressions and cadences, few leading tones except in main
cadences, final cadence plagal (A, E). Lean harmonies (1718, 2426, 3033) support reserved mood.
Harmonic centers confirm the time signature divisions:
MODEL 6 Motet
29
Mainly smooth, stepwise motion often coordinated with homorhythmic texture (15; 3437); incremental
line development: two steps up or down, then one back (S2426). Larger skips and leaps also turn back
(S89), regaining balance before continuing. Impressive example of MR coordination T611: the falling
4th is recycled with added motion, finally stretching to peak D, relaxing more slowly downward. Many
phrases follow a general pattern of increasing motion balanced by slower punctuation (710, 2733).
Changing metrical proportions (interpreted as modern time-signatures: 4/4, 3/2, and 2/2) confirm the
three-section but two-part Shape (see Overview). Josquins extensive rhythmic vocabulary includes 8ths,
quarters, halves, wholes, and longae.Upbeat and offbeat entries highlight points of imitation (1112,
2324).Rests of different sizes play an important rhythmic role, differentiating the pace of phrases:
after the steady half-note punctuation of 4-bar phrases (3445), notice the quickening effect of 2-bar
subphrases separated by quarter rests. There is a further undercurrent: an inspection of phrase groups
reveals a general infrastructure, short groups punctuated by one longer:
Phrase and Phrase-Groups: |||5 6 | 2 2 5 | 7 7 || 4 4 5 || 2 2, 2 2 2, 4, 9 |||
Smaller units communicate the grammar of a rhythmic language easily, and the longer phrases indicate
the irregular syntax of a higher, phrase-group dimension. The boldface number 9 marks a long extension.
Josquin makes very sure that we know where the piece ends.
Growth Processes. Contrasting to the rather closely-knit counterpoint of Part One, Part Two of this
double motet establishes an individual identity by its frequently chordal setting, which Josquin exploits
to clarify a pervasive mood of resignation and a sensitive treatment of text. Within this quiet melancholy,
Tu pauperum refugium develops an A: A1 A2 structure, somewhat like a statement with two variations
(lengths in a 2:1:1 relationship). These segments are marked out by changes in proportional rhythmic
signs, transcribed as modern time-signatures: 4/4, 3/2, and 4/4. Phrases and motives emerge with equal
clarity, succinctly defined by rests (6, 11, etc.), textural change (11, 20: 4 parts dividing into a dialogue
between paired upper and lower voices), and well-developed cadences (1011, 1920). This complex
regulation of musical flow nevertheless provides opportunities for matching text and music.
Scholarly writings often refer to Josquins ability to express his texts with music eloquence. The
subject of text expression is an ambiguous area, however, since perceptions can different considerably
from person to person. People can often agree with respect to generalities, such as the predominant
mood. Specific reaction, however, such as my phrase in the discussion of S above, a fresh major chord
may express the hopeful text could be criticized as subjective, despite the cautionary word may. In
one unforgettable performance the effect of sun after cloud seemed unmistakable. Less ambiguous
(perhaps) is the phrase via errantium (erring path, expressed in hesitant neighbor-notes 2126). Can
we stretch credibility to include the focus on a single word? Is the time-space of vita (life) convincingly
simulated by an extended melodic development (11)? Despite all difficulties, personal responses that
are properly identified as possibilities rather than facts can add a dimension of suggestion valuable as
part of analysis. The discussion below of the sigh motive (45) validates this conclusion.
After the death of Okeghem, Josquin was widely recognized as the supreme master of his time. Then
and now, however, it has not been easy to say just where this mastery lies. An answer emerging from the
analysis above: in Tu pauperum refugium his range of expression encompasses all of SHMRG, a wealth of
resource that enables him to confirm the effect of any style point from several other perspectives. It is the
sum of these many convergences that so deeply yet clearly communicates his oeuvre to the listener, a music
30
Outline of Conclusions
0.
I.
General
(a) SATB motet, ltd range and tess (S peak D2, esp low A: D1-F1), Pt II of Magnus es Tu, Domine.
(b) Josquin makes a strikingnot merely faithful or competentexpression of the text as a whole,
creating a compassionate melancholy based on innumerable small sighs (the falling 4-note figure
over plagal or Phrygian cadences). At the same time he gives sensitive attention to the nuances of
individual words.
Exceptionally clearly defined, sectional motet structure:
(a) Puntuation by sharp changes in meter; partial to full and back to partial textures; contrast of phrase
rhythms, esp reg phrasing in 3/2, then accel/decel of section 3.
MODEL 6 Motet
31
(b) Unity from pervasive falling Phrygian lines and plagal (iv-i) harmonies; return of duple meter and
material from beginning (cf. 11 vs 46); consistent E-A modal centers; many recurrent subpeaks C2
(3, 9, 11, etc.) but only one D2 peak (24) felt more as affective stress than structural climax.
II.
(a) Richly varied flow of ideas, despite strong unification:
1. Exceptional feeling for choral color: instant appeal and text communication of opening block
chords suddenly dissolving into cpt and later re-crystallizing on key words; duetting SA vs. TB;
register changes esp brilliant effect of naturally emergent lines highlighted by octave leaps (B +
S 89) enhanced by sudden textural gaps (2425, 6062); effective voice crossing (61); antiphonal
treatment (4540).
2. Great variety of cadences, despite overwhelming repet of A-E chords, obtained by linear and
textural invention (fascinating archaism 3233).
3. Increased momentum: no rest on return at 46.
(b) Expansions of earlier material
1. Compare return of opening 2 phrases with expansion of 4146.
2. Powerful settling effect of 1120 becomes four-fold descent from C2 (45, 50, 57, 62).
III. Linear control of top line creates convincing phrases in concinnity with rests, texture, long notes, chord
rhythm. Clear phrases and subphrases.
IV.
(a) Projection of exceptionally long lines by strong direction (esp descending) that overcomes interruption
of rests and subphrases; integration by structural devices, e.g. sequences, imitation, and balanced
parabolic curves.
(b) Text treatment constantly refreshed by
1. Alternation of syllabic and melismatic areas.
2. Highlighting of individual words (pathetic but effective bass rise and F6 chord on refugium (4);
via errantium waffles aimlessly: 2127; extended life of vita: 2533; and even syllables
receive careful setting (languorum stretches out: 78).
32
MODEL 6A
_____________
Giovanni Palestrina
Sicut cervus
Motet (1581)
33
MODEL 7
___________
Anonymous
My Lady Careys Dompe
34
Timeline
35
Observations
GENERAL: Keyboard variations on a ground (4-bar ostinato). Source: British Library, Royal App. 58
(HAM 103).
LARGE
Shape
Movement
SMALL MIDDLE
36
Outline of Conclusions
O. Introduction (General points)
I.
(a) 12 variations on a 4-bar ostinato divided by a strong central punctuation (29: rest and low point).
1. Consistent open fifth & octave broken-chord texture of GGDD alternations in left hand, relieved
by flexible linear right hand.
2. Decisive termination by sudden slow notes (45) and repetition of cadence in higher octave (43,
47); da capo option, possibly for dancing?
(b) Unification by flexibly recurrent 4-note fall and cadence figures (see motivic chart below Timeline).
II. Well-coordinated and carefully graded activity crescendo
(a) Expansion of range from F1-F2 octave downward (29: G1) to peak A2 at end.
(b) Rhythmic crescendo especially after 29: no rests, fewer halves/quarters, almost continuous 8ths +
more 16ths; closer linkage of ostinato patterns; more flection and linear ornamentation; shorter
phrase groups (see Timeline and III below).
(c) More onbeat dissonances as piece progresses (3738, 42).
III. Some middle-dimension organization: interior grouping of ostinato patterns: 4 4 4 / 4 4 4 4 // 4 4 / 4 4
/ 4 // frequently confirmed by broad sweep of right hand line.
IV. Surprisingly varied impression despite rigid ostinato:
(a) Constantly ingenious variants/derivants, diminuents of original 4-note fall-motive, inc. sequence
(37), divisional-like technique (cf. 1619 vs. 3637); complicated contour rhythm (2934).
(b) Pulsation: melodic/rhythmic rest-action pattern approx. every two bars of ostinato; some longer
pulsation (cf. action 1320 vs. rest 2129).
(c) Variety of surface durations (w to x) and patterns (long-short q. e occasionally interrupted by shortlong (12, 42: q q q).
(d) Left-hand chord stability apparently stimulates inventive right-hand linear dissonance, incl. accented
passing tones (12) combined with chappes (13); cambiata groups (FGBbA, 34).
w
MODEL 8 Sonata
37
MODEL 8
___________
Giovanni Gabrieli
Sonata piane forte
(1597)
38
MODEL 8 continued
___________
MODEL 8 Sonata
39
Timeline
finish timeline:
Observations
GENERAL: Polychoric canzona-sonata for two 4-part instrumental groups with low and middle tessituras,
F2-A1 vs. Bbs-F2. First specified instruments: Choir I = cornetto + 3 trombones, Choir II = violin + 3
trombones. First dynamic markings: pian (single choir) and forte (tutti).
LARGE
Shape
Forte closing tuttis mark off 3 sections (130,
3154, 5580); see Timeline.
Effective brass idiom: many repeated-note note
figures.
Movement
S
40
R
G
MODEL 8 Sonata
41
Outline of Conclusions
0.
I.
42
MODEL 9
___________
Arcangelo Corelli
Sonata VIII Preludio
MODEL 9 Sonata
43
Observations
GENERAL: Sonata V/8, Preludio from a dance sonata, Largo 3/4. V=D1E3; B=E2A1.
LARGE
Shape
Movement
MIDDLE SMALL
Basic 2-bar module expanding to 4 or contracting to 1+1 effect from imitative entries (12
and 2326).
44
Phrases differentiated by spacing and tessitura: Note contraction of 1st phrase, high tess in 23f.
Timeline
Outline of Conclusions
0.
I.
General
(a) Binary framework (I III V }] V iv i) confirmed by
1. Broadly symmetrical arr of mel material
a: 18 stepwise, desc 8ths
b: 922 skips, triads
b: 2328 skips, triad frags
a: 2942 stepwise (+ some skips)
2. Balance of interior secondary excursions (III, iv) around middle dominant tension.
3. Large balance: three main phrases in each part.
4. Recurrence of k material.
(b) Unification by family resemblance in recurrences, variants, recombinations; see particularly k idea
(15, 20, 28, 40); derivation of 3132 from comb of 3+inv of 23; 23 = 1-beat shift of 1314;
imitative participation of bass line.
II.
(a) Masterly control of musical flow by
1. Alternation of textures, ranges, stable vs. ambiguous (elided) punctuations; first vs. second-beat
(sarabande) accentuation.
2. Harmonic advancement: logical chord progression and modulation, unified tonality from direct
chord relationships to one center.
3. Heightened interest of Part II by more active range, increased bass motion and participation;
directional modulatory sequence (2330); more dissonance (susp: 33) and tensional chords
(d7: 31).
III.
(a) Concinnity between elements often clarifies phrase profile and main punctuations. Note more frequent
skips, accelerated surface and chord rhythm, increased dissonance in comparing 1012 with 1317.
MODEL 9 Sonata
45
(b) Differentiation of phrases by spacing and tessitura: Phrase 1 contracts, but Phrase 2 remains open;
much higher range and tessitura after double-bar.
(c) Melodic material is motivic rather than thematic; flexible 2-bar module expands and contracts by
chains of motivic variants (cf. 12 vs. 2326).
IV.
(a) Effective continuation from
1. Changing sources of activity (3033 = surface R; 34-27 = chord R).
2. Varied punctuations: hemiolas (1516, 2829, 4041); elisions (17, 30, 38); deception in resolution
(7, 38).
3. Exquisite reciprocation between lyric stepwise figures and broad, expressive leaps.
4. Rising levels of excitement in many phrases: modular accelerations 915 (2 2 1 1).
46
MODEL 10
____________
G.F. Handel
Air. Evry Valley Shall Be Exalted
Messiah (1742)
MODEL 10 Air
47
MODEL 1 0 continued
____________
48
MODEL 10 continued
____________
MODEL 10 Air
49
MODEL 1 0 continued
____________
50
Timeline
MODEL 10 Air
51
Observations
GENERAL: Tenor aria with orchestral accompaniment; approaches a small classic concert aria/concerto design
except full ritornello at end. Text affect a Handel specialty: affirmative grandeur. Highly effective word
treatment with Biblical navet (i.e. universal appeal): exalted 20, made low 26, crooked 27, plain
30. Realism: crooked = awkward vocally.
LARGE
Shape
Movement
Effective handling of resources creates variety and
direction: additive orchestration supports implied
crescendo of repetition (47, 7984), fine contrast
woodwinds (8); natural emphasis on voice (enters
entirely along, 10; sounds thru strategically
placed orchestral loopholes on be 14, -alt
19; climax notes arrive with inevitability after
long sequences 19, not extreme range G#1).
)
)
)
SMALL
S
Vocal phrases develop by motivic repetition and
accumulation for emphasis and climactic effect
in performance.
52
q. q q
Chord rhythm q q q q.
Effect:
q q q q q q. q q
Melodic stress
Surface rhythm q q
e q
A
h
A
Subphrase punctuation 2728: coord. of long note, rest, IV-I6 more stable than ii6-i6.
Outline of Conclusions
0.
I.
* Cadence of introductory ritornello/returns only at ends of main divisions (42-43, 71-72, 83-84).
MODEL 10 Air
53
(b) Baroque action/rest sequence penetrates both motive & phrase; chord rhythm = shaping force.
(c) Increased emphasis from repetition and sequencing of motives.
(d) Coloratura is thematic: sequential expansion of exalted (cf. 13 vs. 1519).
IV. Excitement emerges even from details of movement:
(a) Coloratura endings achieve additional action: 18 eliminates susp.; 23 also compresses module: h h to
q q.
(b) Word repetitions intensify: crooked becomes more crooked, 27 vs. 33; plain becomes more
plain, 30 vs. 34.
(c) Split-level melody: lower level rises; upper level holds, builds tension, finally breaks away, 5658.
(d) Advanced concinnity of phrase action (see ObservationsSmall G).
54
MODEL 1 1
____________
F.J. Haydn
Sonata No. 4, Hob. XVI/G1
(before 1766)
MODEL 11 Sonata
55
MODEL 1 1 continued
___________
56
MODEL 1 1 continued
___________
MODEL 11 Sonata
57
Observations
GENERAL: Miniature sonata form, also limited in range, use of keyboard, non-idiomatic figures. Allegro 2/4.
LARGE
Shape
Movement
MIDDLE
SMALL
58
Outline of Conclusions
[Large Shape]
[Large Movement]
[Sm-Mid Shape]
[Sm-Mid Movement]
0. General
I.
(a) Strong Exp:Dev punctuation (dbar, V cad, textural expansion in Dev); Rec
semi-concealed in end of long mod seq.
(b) Dev = mild contrast: more reg flow from consistent texture and steady
small module Px var; quick modulations; conventional, heavily punctuated
goal (vi).
II.
(a) Emphasis on continuity: variance rather than response or contrast; alternation of thin and richer textures; varied upbeats including contrast Rs (nonadjac vals: q q q q \ e)
III.
(a) Thematic Unity: T derives from T; S = P var, inverted texture of P; K =
new exc P upbt.
(b) Graduated punctuation: before T; complete rest and syncopated chord R
confirm S modulation to V; elision (22) speeds up effect of K. Texture
expands to emphasize cads.
(c) Conservative aspects: chord vocab, range, surface rhythm undifferentiated
exc upbts.
IV.
(a) Exp accel: P basis = 8th, S = 16th, K = triplet 16th and 1-bar module
MODEL 11 Sonata
59
(b) Dev = R intensification coord w S, M: module accel/decel (29-Rec) = 33
22 22 22 11 234.
60
MODEL 1 1A
______________
Haydn
Sonata No. 6, Hob. XVI/10
(before 1766)
MODEL 1 1 A continued
_____________
61
62
MODEL 1 2
____________
Robert Schumann
Das verlassne Mgdelein
MODEL 12 Lied
63
MODEL 12 continued
___________
64
Timeline
Observations
GENERAL: Strophic lied (four 4-line stanzas) for mezzo voice (D1-Eb2), text by Eduard Mrike. Folk-like
poem set with modest texture (piano doubles voice) and initial 2+2 simplicity of phrasing, but Schumann
encloses stanzas in a larger plan: two parts (112, 1326) each including 1 text stanzas, the final stanza as
a reprise in the form of an extended cadence: V-iv-I.
MODEL 12 Lied
65
LARGE
Shape
Unusually restrained voice and piano, limited
range and texture. Piano augments 3-part
texture only for special emphasis: 11: sf; 2325:
cresc.
Movement
Two long structural expansions caused by
falling bass, 112, 1326.
SMALL
TEXT EXPRESSION: Fine mood setting: restrained beginning (pre-dawn), partial chord, thin texture, hushed
dynamics, pathetic falling line, short subphrases, simple rhythmic module (skillfully varied), but underlying
impression of anxiety from chromatic 8th-note motion, elusive shifts in tonality. Thickened texture for important
66
words (11: springensf). Melodic peak (15: Eb2) curiously not coordinated with text, instead fulfills musical
function of descending sequence following piano; but most significant word (24/25: getrumet) brings
together highest vocal activity, crescendo, the only two 16ths in the lied, bass octaves and fuller chords.
Squareness of the simple stanzaic form is relieved not only by the superimposed musical design but also
by numerous anticipations in the piano both of vocal subphrases (6/7, 18/19) and main punctuations (12/13,
26/27).
Fascinating variety produced by piano taking first subphrase of part II (1314); text thus arrives 2 bars
late, requiring an equivalent extension (25/26) to complete stanza III. Extremely subtle variant reprise:
2734 (= 18) enters over the extended V pedal that leads into the final iv-I cadence (major third at end a
debatable solution).
Outline of Conclusions
0.
Introduction: miniature romantic lied; folksong-derived, simple strophic poem, 4-line stanza
romantic concern with servant girl instead of shepherdess; wistfully tragic emotion; sophisticated simplicity
of musical design: does not match poetic form.
I. Masterly music plan that avoids the curse of stanzaic repetitions.
(a) Design of two parts and a reprise/cadence splits second strophe in half; fourth strophe enters on V
pedal not as a balancing part but as text of a cadential extension.
(b) Internal musical organization also independent: begins as if matching each line with a two-bar subphrase, but each part repeats 3rd and 4th subphrases (ab cd cd), completing first two lines of strophe
II. Musing character of poem permits this deliberate lack of phrase/strophe coordination without
sense of distortion.
II. Convincing movement despite 8 repetitions of 2+2 module.
(a) Strong tonal motion: Part I = Gm-Eb; Part II = Cm-Gm (extended cadence = V ped.-iv-I).
(b) Two long, unbroken descents of bass line define the two parts, unite subphrases.
(c) Surprise setting of main punctuation (12/13) shows structural importance of piano: it begins Part II
with transposition of opening bars to Cm.
III. Forsaken subject matter suggests severe restraint of means.
(a) Restricted range, texture, dynamics, melodic movement, tempo.
(b) Occasional affective words call forth sudden activity in harmony, melodic line, dynamics, texture
(11: springen; 24/25: getrumet).
IV. Many sensitive and skillful details generate consistent interest.
(a) Considerable rhythmic variety within the rigid 2+2 format.
(b) Simple but satisfying fall-rise balances in melodic line.
(c) Restless chromatic motion, mainly 8th-note motion, reflects emotional mood.
(d) Squareness of punctuation avoided by anticipations and overlaps of accompaniment between subphrases and phrases of voice, also by welding 2+2 into 4 (10/11, 24/25).
67
MODEL 1 2A
______________
Hugo Wolf
Das verlassne Mgdelein
(1888)
68
MODEL 1 2A continued
_____________
MODEL 13 Prelude
69
MODEL 1 3
____________
Claude Debussy
Des pas sur la neige (Preludes, Book I/6)
(1916)
70
MODEL 1 3 continued
____________
MODEL 13 Prelude
71
Observations
0. GENERAL: Short descriptive genre piece, more mood-setting than specific. Dm modal, 4/4.
LARGE
Shape
Movement
Strong concinnity in punctuation: rests, textural thinning, register change, dynamic recession, tempo relaxation
(cdez: 13), deceleration (retenu 15), quiescent, static.
SMALL MIDDLE
72
M
R
G
Timeline
inv. dimin.
a1
a
5
D
m
a0.1
16
D
m
a2.2 aug.
26
G
m
a2
a2.1
(Em)
(G)
a1.1
20
(G)
texture inv.
3
a
32
36
D
m
Outline of Conclusions
0.
I.
General
(a) Broad, leisurely unfolding of phrases based on a minor 3rd generated by the ostinato accompaniment.
Successive variants and subvariants (see Timeline) interspersed with two returns of the initial motivic
idea (16, 26).
(b) Strongly concinnous punctuation: rests, thinning of texture, register changes, dynamic recession,
tempo relaxation and deceleration (1315). Debussys subtle control of silences delicately incremented
approaches and departures.
II. Gradual, coordinated enlargement of the thematic gesture (24):
(a) Expansion of dynamics, range, texture (underplayed: dynamics expand from p to pp!)
(b) Increasing complexity of color chords and structural dissonance (14)
(c) More expressive variants of the Dm mode (A/Ab, B/Bb, C/C-sharp) in new combination.
(d) Peaks rise: E2-Ab2-Cb3 (3, 14, 30); lows sink: D2-Bb3-D3 (6, 15, end).
MODEL 13 Prelude
73
74
MODEL 1 3A
______________
Claude Debussy
Preludes, Book 1/8
(1916)
MODEL 1 3A continued
_____________
75
76
MODEL 1 4
____________
77
11
10
9
8
7
6
5
4
3
2
1
Po
D#
D
C#
C
B
Bb
A
G#
G
F#
F
E
E
D#
D
C#
C
B
Bb
A
Ab
G
F#
F
C
B
Bb
A
G#
G
F#
F
E
Eb
D
C#
D
C#
C
B
Bb
A
G#
G
F#
F
E
Eb
B
Bb
A
G#
G
F#
F
E
Eb
D
Db
C
C#
C
B
Bb
A
G#
G
F#
F
E
Eb
D
G
F#
F
E
Eb
D
C#
C
B
Bb
A
G#
G#
G
F#
F
E
Eb
D
C#
C
B
Bb
A
Po
A
G#
G
F#
F
E
D#
D
Db
C
B
Bb
F
E
D#
D
C#
C
B
Bb
A
G#
G
F#
F#
F
E
Eb
D
C#
C
B
Bb
A
Ab
C
Bb
A
G#
G
F#
F
E
D#
D
C#
C
B
11
10
9
8
7
6
5
4
3
2
1
Ro
0
11
3
1
4
2
PRIMARY (P)
(read rightward) 8
7
6
10
9
5
11
10
E
D#
G
F
G#
F#
C
B
Bb
D
C#
A
F
E
Ab
F#
A
G
Db
C
B
Eb
D
Bb
C#
C
E
D
F
Eb
A
Ab
G
B
Bb
Gb
Eb
D
F#
E
G
F
B
Bb
A
Db
C
Ab
C
B
Eb
Db
E
D
Ab
G
F#
Bb
A
F
D
C#
F
Eb
F#
E
Bb
A
G#
C
B
G
G#
G
B
A
C
Bb
E
Eb
D
Gb
F
Db
A
Ab
C
Bb
C#
B
F
E
Eb
G
F#
D
Bb
A
Db
B
D
C
Gb
F
E
Ab
G
Eb
F#
F
A
G
Bb
G#
D
C#
C
E
D#
B
G
F#
Bb
Ab
B
A
Eb
D
C#
F
E
C
B
Bb
D
C
D#
C#
G
F#
F
A
G#
E
11
10
RETROGRADE-INVERSE (RI)
(read upward)
RETROGRADE
0 (read leftward)
11
3
1
4
2
8
7
6
10
9
5
78
Timeline
Observations
GENERAL: A new kind of music in which the time continuum seems to be fundamentally circular rather
than linear, so that shape is cyclic rather than goal-oriented and terminal. The rarified, fragmented character
of sound, melody, and rhythm enhance the originality of Weberns approach. The tone rows derive from
Movement I.
79
LARGE
Shape
Structural use of dynamics: constant p-f change
within a large pattern: 2nd half nearly
duplicates 1st (exc. one reversal, two louder
dynamicssee Timeline).
Movement
S
SMALL
80
Outline of Conclusions
0.
I.
II.
III.
IV.
00.
Serial Music
One detects twelve-tone style by recurrent phenomena (not pitch alone) within an apparently heterogeneous
flow. Look for the reappearance of characteristic intervals (not necessarily the original pitch sequence) of the
controlling row at major points of division, such as double bars, endings and cadences of all sorts, tempo
changes, and general shifts in dynamic level or textural combination. Small dimension clues to serial structure
may be found in pitch sets segregated by rests, rhythmic patterning, or special ranges and sonic effects. In
the Webern example one should immediately suspect that there are two simultaneous unfoldings of variants
of the row because of the careful separation and free mirror-arrangement of material. Once serial arrangement
81
is suspected, the following procedures should prove helpful. Watch for overlaps (Webern, b.6) and crossovers (b.5).
(1) Under a chromatic scale, C-B, write the numerical order in which the 12 tones appear.
(2) Recopy the tone-row in proper numerical order, 1 through 12, to form the principal row P.
(3) List all of the intervals in the row.
(4) The secondary rows may be derived as follows:
(I) Inverse: change all the signs, i.e. P: Bb -1 (=A) +4 (=C#)
(R) Retrograde: Reverse from the end of row, changing all signs, i.e.
. . . (=G#)-1 (=G) -4 (=D#) :P
R: D# +4 (=G) +1 (=G#) . . .
(RI) Retrograde-inverse: Reverse from end of row without changing signs, i.e.
. . . (=G#) -1 (=G) -4 D# :P
R: D#-4 (=B) -4 (=Bb) . . .
Chrom. Scale
Row No.
Intervals
Inverse
Retrogr.
Retrogr.-Inverse
C
6
0
0
0
0
C#
3
-1
+1
+4
-4
D
5
+4
-4
+1
-1
D#
12
-2
+2
-4
+4
E
9
+3
-3
+1
-1
F F#
8
7
-2 6
+2 6
+1 6
-1 6
G
11
-1
+1
+2
-2
G#
10
-1
+1
-3
+3
A
2
+4
-4
+2
-2
A#
1
-1
+1
-4
+4
B
4
-4
-4
+1
w-1
(1)
(2)
(3)
(I)
(R)
(RI)
82
MODEL 1 5
____________
Edgard Varse
Density 21.5
83
MODEL 1 5 continued
____________
84
Observations
GENERAL: Compositional essay for solo flute, written to celebrate Georges Barrres platinum instrument
(chemical density 21.5). Three-part: unfolding, concentrated development, return (see double-bars).
LARGE
Shape
Movement
SMALL MIDDLE
S Many detailed dynamics, including short crescendos and unexpected accents, usually increasing
during phrase, then re-trenching.
M Sensitive wedge-form line development. Intensification by extended, more insistent repetition,
re-cycling; extension of neighbor-note oscillation (2930: 9th).
Phrase-cadences often marked by long cresc. or
cresc./diminuendo notes.
85
exposed in bar 1, 2 in bar 2, then none until 2 in
bar 7 and 1 in bar 8, 2 in bar 11 and 1 in bar 12,
then none until bar 18. Line action frequently
reverses the quick/slow R surges: begins stepwise
(slowly) then increases interval size (quickening).
Outline of Conclusions
0.
I.
II.
(a) Wedge-form unfolding (up and down from start) of line and dynamics on three levels:
1. Piece as a whole grows in dynamic intensity, rises in tessitura and peaks: Part I G 3; II A3; III
D4 and end B3. Lengthening of intensifications: compare 1113, 3235, 4650. Long-term
goal of low C saved for end (56).
2. Parts each rise to peaks and ff or fff climaxes; more extended and eloquent repetitions; more
dramatic variants.
3. Individual phrase and single gestures (subphrases) progress constantly to new highs and lows.
(b) Vitality maintained by retrenchments that prepare for new and greater climaxes: 24, 55; also on a
smaller scale: 15.
III. Well-coordinated phrase punctuation by breath marks, rests, longer notes, changes of register and dynamics.
IV.
(a) Subtle reciprocity of flow between
1. Basic surges of quick action/slower reaction in rhythmic flow and rate of exposition (see Observations).
2. Opposite tendency of line continuations: beginning stepwise (slowly) and expanding to larger
intervals (quickening).
(b) Superb linear, dynamic, and rhythmic invention: no repetition of details except for deliberate purposes
of intensification.
00. Summing-up: Special Personal Impression.