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Books > Arts & Architecture > Music > Western music, periods & styles > 20th century music
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Composition, Chromaticism and the Developmental Process - A New Theory of Tonality (Paperback)
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Composition, Chromaticism and the Developmental Process - A New Theory of Tonality (Paperback)
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Musicology, having been transmitted as a compilation of disparate
events and disciplines, has long necessitated a 'magic bullet', a
'unified field theory' so to speak, that can interpret the steady
metamorphosis of Western art music from late medieval modality to
twentieth-century atonality within a single theoretical construct.
Without that magic bullet, discussions of this kind are
increasingly complicated and, to make matters worse, the validity
of any transformational models and ideas of the natural evolution
of styles is questioned and even frowned upon today as epitomizing
a grotesque teleological bigotry. Going against current thinking,
Henry Burnett and Roy Nitzberg claim that the teleological approach
to observing stylistic change is still valid when considered from
the purely compositional perspective. The authors challenge the
traditional understanding of development, and advance a new theory
of eleven-pitch tonality as it relates to the corpus of Western
composition. The book plots the evolution of tonality and its
bearing on style and the compositional process itself. The theory
is not based on the diatonic aspect of the various tonal systems
exploited by composers; rather, the theory is chromatically based -
the chromatically inflected octave being the source not only of a
highly ingenious developmental dialectic, but also encompassing the
moment-to-moment progression of the musical narrative itself. Even
the most profound teachings of Schenker, and the often startlingly
original and worthwhile speculations of Riemann, Tovey, Dahlhaus
and others, still provide no theory of development and so are
ultimately unable to unite the various tendrils of the
compositional organism into a unified whole. Burnett and Nitzberg
move beyond existing theory and analysis to base their theory from
the standpoint of chromatic 'pitch fields'. These fields are the
specific chromatic pitch choices that a composer uses to inform and
design a complete composition, utilizing specific chromatic
inflections to control a large-scale working out process that is
the very essence of 'development'. In short, the authors claim that
a chromatic background that coexists with a diatonic contrapuntal
background may define the process of compositional development.
These chromatic and diatonic events are the two genus expressions
of slowly unfolding tonic octaves.
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