Subjective Questions
Music Theory: Advanced Post-Tonal Harmony
Chapter 6: Advanced Post-Tonal Harmony – A Comprehensive Guide to Grade 11 Music Theory
Introduction:
In this chapter, we will explore the fascinating world of advanced post-tonal harmony. As we progress through the grade 11 music theory curriculum, it is essential to delve deeper into the complexities of modern music and understand the principles behind post-tonal harmony. By the end of this chapter, you will have a solid foundation in advanced post-tonal harmony, enabling you to analyze and appreciate contemporary music with confidence.
Section 1: Exploring Post-Tonal Harmony
1.1 What is Post-Tonal Harmony?
Post-tonal harmony refers to a harmonic system that moves beyond the traditional tonal framework of major and minor keys. It emerged as a response to the limitations of tonality and sought to explore new harmonic possibilities. Composers like Arnold Schoenberg, Alban Berg, and Anton Webern paved the way for this revolutionary approach to music.
1.2 Twelve-Tone Technique
One of the most significant developments in post-tonal music is the twelve-tone technique. This method, devised by Schoenberg, ensures that each of the twelve pitches in the chromatic scale is treated equally. By organizing these pitches into a series or row, composers can create a sense of unity and explore new harmonic relationships.
1.3 Atonality
Atonality, another key aspect of post-tonal harmony, refers to the absence of a tonal center or key. In atonal music, there is no hierarchy of pitches, and all twelve notes are given equal importance. This absence of tonality allows for greater experimentation and freedom in composition.
Section 2: Analyzing Post-Tonal Harmony
2.1 Pitch Class Sets
In post-tonal music, the concept of pitch class sets becomes crucial. A pitch class set refers to a collection of pitches that are treated as a single entity, regardless of their octave. Analyzing these sets helps us identify recurring patterns and understand the underlying structure of a composition.
2.2 Intervallic Relationships
Post-tonal harmony places significant emphasis on intervallic relationships. Composers explore dissonance, tension, and the unique sonorities that arise from unconventional intervals. Analyzing these relationships allows us to grasp the expressive qualities of a piece and gain insights into the composer\’s intentions.
2.3 Tone Rows and Matrix Analysis
Tone rows, derived from the twelve-tone technique, play a central role in post-tonal analysis. These rows serve as the foundation for the composition and can be manipulated in various ways. Matrix analysis provides a visual representation of the relationships between the pitches in a tone row, aiding in the understanding of its structure and transformations.
Section 3: Examples and Applications
3.1 Simple Example: Webern\’s \”Five Pieces for Orchestra\”
Webern\’s \”Five Pieces for Orchestra\” is a concise example of post-tonal harmony. The absence of a tonal center and the use of dissonant intervals create a sense of ambiguity and tension. By analyzing the pitch class sets and intervallic relationships in this composition, students can gain a clear understanding of the principles of post-tonal harmony.
3.2 Medium Example: Berg\’s \”Wozzeck\”
Berg\’s opera \”Wozzeck\” showcases the complexities of post-tonal harmony on a larger scale. The dissonant chords, complex tone rows, and intricate orchestration demonstrate the intricacies of advanced post-tonal techniques. Through detailed analysis of specific sections, students can unravel the layers of harmonic innovation in this groundbreaking work.
3.3 Complex Example: Boulez\’s \”Pli selon pli\”
\”Pli selon pli\” by Pierre Boulez represents the pinnacle of post-tonal composition. This large-scale work employs intricate tone row manipulations, complex rhythmic structures, and innovative orchestration. By dissecting specific passages, students can gain insight into the advanced techniques used by Boulez and appreciate the depth of his harmonic language.
Conclusion:
As we conclude this chapter on advanced post-tonal harmony, it is evident that this area of music theory offers a rich and diverse landscape for exploration. By understanding the principles and techniques behind post-tonal harmony, students can develop a deeper appreciation for contemporary music and engage in meaningful analysis. With the knowledge gained from this chapter, you will be well-equipped to tackle the challenges of grade 11 music theory examinations confidently.
Chapter Review Questions:
1. What is the difference between tonal and post-tonal harmony?
2. Explain the twelve-tone technique and its significance in post-tonal music.
3. Define atonality and discuss its implications in composition.
4. How do pitch class sets aid in the analysis of post-tonal music?
5. Why is the study of intervallic relationships important in understanding post-tonal harmony?
6. Describe the concept of tone rows and their role in post-tonal composition.
7. How does matrix analysis contribute to the understanding of post-tonal harmony?
8. Analyze Webern\’s \”Five Pieces for Orchestra\” in terms of post-tonal harmony.
9. Discuss the complexities of post-tonal harmony in Berg\’s opera \”Wozzeck.\”
10. Explore the advanced techniques used in Boulez\’s \”Pli selon pli.\”
11. How does post-tonal harmony challenge traditional notions of tonality?
12. Identify the key features of post-tonal music that differentiate it from tonal music.
13. Discuss the expressive qualities of post-tonal harmony.
14. Analyze a specific passage from a post-tonal composition and explain its harmonic innovations.
15. Reflect on the impact of post-tonal harmony on contemporary music and its significance in the music world.
References:
– Forte, Allen. The Structure of Atonal Music. Yale University Press, 1973.
– Morris, Robert. Composition with Pitch-Classes: A Theory of Composition Based on Interval Cycles. Yale University Press, 1987.
– Perle, George. Serial Composition and Atonality: An Introduction to the Music of Schoenberg, Berg, and Webern. University of California Press, 1991.