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

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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

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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.