A Arte de Modular, Preludiar e Fantasiar: o pensamento de Schenker sobre tonalidade e modulação reconsiderado

Autores

  • John Koslovsky Amsterdan University of the Arts
  • Matthew Brown Eastman School of Music University of Rochester

DOI:

https://doi.org/10.5965/2525530406032021032

Palavras-chave:

Heinrich Schenker, Ludwig van Beethoven, Modulation, Preludes, Fantasies

Resumo

Embora Heinrich Schenker certamente tenha mudado de ideia sobre muitos tópicos, ele nunca renunciou à sua crença de que 1) as formas correntes de explicar a modulação eram fundamentalmente falhas; e 2) que a modulação é melhor aprendida improvisando prelúdios e fantasias. Para explicar esses pontos, a Parte I reconsidera a crítica de Schenker do Beiträge zur Modulationslehre de Max Reger (1903) e Die Kunst zu Modulieren und zu Präludieren de Salomon Jadassohn (1906): 1) reinterpretação [diatônica]; 2) cromaticismo; e 3) enarmonismo. A Parte II mostra como Schenker não apenas dispensou os conceitos tradicionais de tonalidades relativas, próximas e distantes, mas finalmente propôs que as modulações emergem no nível frontal (foreground) por razões contrapontísticas, até mesmo motívicas. Finalmente, a Parte III usa as afirmações de Schenker sobre modular e preludiar para analisar os “Dois Prelúdios” de Beethoven em Dó Maior, Op. 39, os quais modulam “através de todas as doze tonalidades principais.”

Biografia do Autor

John Koslovsky, Amsterdan University of the Arts

John Koslovsky is on the music theory faculty at the Conservatorium van Amsterdam and holds an affiliate research position in the humanities at Utrecht University. His research deals with the history of Schenkerian theory, music analysis and the history of music theory. He is currently co-editing a book volume (with Michiel Schuijer) on performance theory, entitled Researching Performance, Performing Research, and is currently writing a book on the work of Felix Salzer and its impact on post-WWII music theory. He is a member of the Schenker Documents Online project and former president of the Dutch-Flemish Society for Music Theory.

Matthew Brown, Eastman School of Music University of Rochester

Matthew Brown is Professor of Music Theory at the Eastman School of Music. He is author of four books—Debussy’s ‘Ibéria’: Studies in Genesis and Structure (Oxford, 2003), Explaining Tonality: Schenkerian Theory and Beyond (Rochester, 2005), Debussy Redux. The Impact of His Music on Popular Culture (Indiana, 2012), and Heinrich Schenker’s Conception of Harmony with Robert Wason (Rochester, 2020)—and nearly fifty articles/reviews in such periodicals as the Journal of Music Theory, Music Theory Spectrum, and Science. Brown is a founding member of TableTopOpera, a group of Eastman faculty and friends, that specializes in digital multi-media projects, and is involved with various projects in AR/VR at the University of Rochester’s Medical Center and the Department of Electrical Engineering.

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Publicado

2021-10-14

Como Citar

KOSLOVSKY, J.; BROWN, M. A Arte de Modular, Preludiar e Fantasiar: o pensamento de Schenker sobre tonalidade e modulação reconsiderado. Orfeu, Florianópolis, v. 6, n. 3, 2021. DOI: 10.5965/2525530406032021032. Disponível em: https://periodicos.udesc.br/index.php/orfeu/article/view/19873. Acesso em: 30 nov. 2021.