Analysis: Schoenberg and Schenker
This is a follow up to Patricia Carpenters Grundgestalt as Tonal Function.
Barbara Hampsons master thesis (McMaster University): Schenker and
Schoenberg: A critical Comparison of Two Analytical Methods, With
Reference To The Fistrt Movement Of Beethovens Appassionata Sonata,
provides an elightening comparison between the variables that encompass
both types of analysis. I agree with Hampsons overall conclusion that
both theorists embody a unique style of interpretation, but the
combination of these two types would prove to generate a more whole and
organically balanced synthesis.
Key Differences in their focus for musical coherence:
| Schenker |
Schoenberg |
| 1. theory of the "Ursatz"(fundamental structure) |
Grundgestalt concept ("basic shape") -3 levels
stemming from this ideology
|
| 2. Counterpoint |
Harmony |
| 3. Fundamental line/Voice leading
-motivic material derives from it |
Melodic details |
With reference to the Appassionata, Schenker highlights the first
characteristic of the piece - the major third: C (C flat) - A (A flat) +
F, forming a downward arpeggiation.
He refers to the fundamental line motive as C - D flat - C, repeated
throughout and joined in a sequence; the note C always initiating the next
repetition because it is the first note repeated in each sequential
passage.
Hampson states: "Unity is acquired through the filling out of [the]
fundamental linecoherence is created by voice-leading; the basic motivic
element, C - D-flat - C, provides a unifying link between the foreground
and background." (27-28)
| 4. denies essential dissonances (chordal) |
denies incidental dissonances(non-chordal)
i.e. passing/auxiliary notes, suspensions |
"seeks the law concealed behind
the manifestation."
Carl Dalhaus, Schoenberg and Schenker
(p. 215)
|
"aspiring more to
ends than to origins
follows the consequences that
emerge from a musical idea." |
| 5. Assimilation of tonal regions directly
related to the tonic.
Hampson: "piece is unified because
it is an expression of one tonality." (89)
|
All structure
derives from the original Grundgestalt which undergoes variations. |
With reference to Beethovens Appassionata Piano Sonata, Hampson states:
"Carpenters discussion of tonal relations is more extensive than
Schenkers." (48) Carpenters analysis identifies the Neapolitan key as an
integral element in discussing tonal relations and expands on its harmonic
relationship to the tonic.
| 6. register (linear) related to voice leading
|
pitch classes -
producing the motives |
Some similarities as implied by Hampson:
"Both Schenker and Carpenter (implementing the Schoenbergian analysis)
attempt to relate the surface events of the music to the underlying tonal
structure of the piece. Furthermore, both see motivic content as a
unifying factor." (27)
