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Joint AMS/SMT Annual Meeting Vancouver, British Columbia – November 6, 2016
Plagal Systems in the Songs of Fauré and Duparc
Andrew Pau, Oberlin Conservatory of Music Andrew.Pau@oberlin.edu
EXAMPLES
EXAMPLE 1. Wagner, Tristan und Isolde (premiered 1865), Prelude to Act III, mm. 1–2 (cf. Aldwell, Schachter, and Cadwallader 2011, 461; Cohn 2012, 144)
FIGURE 1. Dualistic generation of dominant seventh and subdominant added-sixth chords (d’Indy 1912, 112), along with characteristic voice-leading patterns
EXAMPLE 2. Fauré, “Tristesse,” Op. 6/2 (1873), mm. 1–4
2
EXAMPLE 3. Fauré, “Le ramier,” Op. 87/2 (1904), mm. 3–6
EXAMPLE 4. Duparc, “L’invitation au voyage” (1870), mm. 1–10
FIGURE 2. Dualistic cadences with modal mixture (d’Indy 1912, 111)
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FIGURE 3. Dualistic derivations of the French augmented-sixth chord
(1(a) and 1(b) adapted from Reber 1862, 102)
FIGURE 4. Duparc, “L’invitation au voyage,” rhythmic reduction of mm. 11–31 (half note = one measure)
EXAMPLE 5. Duparc, “L’invitation au voyage,” mm. 32–35
4
FIGURE 5. Derivation of the progression shown in Ex. 5
( “Là, tout n’est qu’ordre et beauté, / Luxe, calme et volupté.”)
EXAMPLE 6. Duparc, “L’invitation au voyage,” mm. 50–57 (“It is to gratify/Your every desire/That they [boats] have come from the ends of the earth.”)
FIGURE 6. Duparc, “L’invitation au voyage,” mm. 62–71:
Rhythmic reduction of piano arpeggiations (dotted half note = one measure)
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EXAMPLE 7. Duparc, “Au pays où se fait la guerre” (ca. 1870), mm. 6–10
EXAMPLE 8. Fauré, “Dans la forêt de Septembre,” Op. 85/1 (1902), mm. 3–10
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EXAMPLE 9. Fauré, “Dans la forêt de Septembre,” mm. 46–54
FIGURE 7. Hypothetical derivation of the progression circled in Ex. 9
EXAMPLE 10. Duparc, “Lamento” (1883), mm. 1–3
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FIGURE 8. Fauré, “Le ramier,” key areas and cadences
EXAMPLE 11. Fauré, “Vaisseaux, nous vous aurons aimés,” No. 4 from L’horizon chimérique, Op. 118 (1921), mm. 2–10
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SELECTED REFERENCES
Aldwell, Edward, Carl Schachter, and Allen Cadwallader. 2011. Harmony and Voice Leading. 4th ed. Boston: Schirmer.
Bergeron, Katherine. 2010. Voice Lessons: French Mélodie in the Belle Epoque. Oxford: Oxford University Press.
Caballero, Carlo. 2001. Fauré and French Musical Aesthetics. Cambridge: Cambridge University Press.
Christensen, Thomas. 1993. Rameau and Musical Thought in the Enlightenment. Cambridge: Cambridge University Press.
Cohn, Richard. 2012. Audacious Euphony: Chromaticism and the Triad’s Second Nature. Oxford: Oxford University Press.
Harrison, Daniel. 1994. Harmonic Function in Chromatic Music: A Renewed Dualist Theory and an Account of Its Precedents. Chicago: University of Chicago Press.
———. 1995. “Supplement to the Theory of Augmented-Sixth Chords.” Music Theory Spectrum 17/2: 170–195.
Hatten, Robert S. 1994. Musical Meaning in Beethoven: Markedness, Correlation, and Interpretation. Bloomington: Indiana University Press.
Indy, Vincent d’. 1912. Cours de composition musicale. Vol. 1. Paris: Durand.
Jankélévitch, Vladimir. 2003 [1961]. Music and the Ineffable. Translated by Carolyn Abbate. Princeton: Princeton University Press.
Kieffer, Alexandra. 2016. “Riemann in France: Jean Marnold and the ‘Modern’ Music-Theoretical Ear.” Music Theory Spectrum 38/1: 1–15.
Klumpenhouwer, Henry. 2011. “Harmonic Dualism as Historical and Structural Imperative.” In The Oxford Handbook of Neo-Riemannian Music Theories, ed. Edward Gollin and Alexander Rehding. Oxford: Oxford University Press.
Northcote, Sydney. 1949. The Songs of Henri Duparc. London: Dennis Dobson. Notley, Margaret. 2005. “Plagal Harmony as Other: Asymmetrical Dualism and Instrumental Music by Brahms.”
Journal of Musicology 22/1: 90–130.
Phillips, Edward R. 1993. “Smoke, Mirrors and Prisms: Tonal Contradiction in Fauré.” Music Analysis 12/1: 3–24.
Platt, Heather. 1993. “Unrequited Love and Unrealized Dominants.” Intégral 7: 119–148.
Rameau, Jean-Philippe. 1971 [1722]. Treatise on Harmony. Translated by Philip Gossett. New York: Dover.
Reber, Henri. 1862. Traité d’harmonie. Paris: Colombier.
Rumph, Stephen. 2015. “Fauré and the Effable: Theatricality, Reflection, and Semiosis in the mélodies.” Journal of the American Musicological Society 68/3: 497–558.
Stein, Deborah. 1983. “The Expansion of the Subdominant in the Late Nineteenth Century.” Journal of Music Theory 27/2: 153–180.
Swinden, Kevin. 2005. “When Functions Collide: Aspects of Plural Function in Chromatic Music.” Music Theory Spectrum 27/2: 249-282.
Tait, Robin. 1989. The Musical Language of Gabriel Fauré. New York: Garland. Tymoczko, Dmitry. 2011. “Dualism and the Beholder’s Eye: Inversional Symmetry in Chromatic Tonal Music.”
In The Oxford Handbook of Neo-Riemannian Music Theories, ed. Edward Gollin and Alexander Rehding, 246–267. Oxford: Oxford University Press.
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