A NEW GEOMETRIC MODEL AND METHODOLOGY FOR UNDERSTANDING PARSIMONIOUS SEVENTH-SONORITY PITCH-CLASS SPACE

Author

Enoch S. A. Jacobus, University of KentuckyFollow

Date Available

11-13-2012

Year of Publication

2012

Degree Name

Doctor of Philosophy (PhD)

Document Type

Doctoral Dissertation

College

Fine Arts

Department/School/Program

Music

First Advisor

Dr. Kevin Holm-Hudson

Abstract

Parsimonious voice leading is a term, first used by Richard Cohn, to describe non-diatonic motion among triads that will preserve as many common tones as possible, while limiting the distance traveled by the voice that does move to a tone or, better yet, a semitone. Some scholars have applied these principles to seventh chords, laying the groundwork for this study, which strives toward a reasonably comprehensive, usable model for musical analysis.

Rather than emphasizing mathematical proofs, as a number of approaches have done, this study relies on two- and three-dimensional geometric visualizations and spatial analogies to describe pitch-class and harmonic relationships. These geometric realizations are based on the organization of the neo-Riemannian Tonnetz, but they expand and apply the organizational principles of the Tonnetz to seventh sonorities. It allows for the descriptive “mapping” or prescriptive “navigation” of harmonic paths through a defined space.

The viability of the theoretical model is examined in analyses of passages from the repertoire of Frédéric Chopin. These passages exhibit a harmonic syntax that is often difficult to analyze as anything other than “tonally unstable” or “transitional.” This study seeks to analyze these passages in terms of what they are, rather than what they are not.

Recommended Citation

Jacobus, Enoch S. A., "A NEW GEOMETRIC MODEL AND METHODOLOGY FOR UNDERSTANDING PARSIMONIOUS SEVENTH-SONORITY PITCH-CLASS SPACE" (2012). Theses and Dissertations--Music. 10.
https://uknowledge.uky.edu/music_etds/10