Grounded in a Neo-Riemannian analysis of three related transformational phenomena throughout Walküre, Tristan, and Parsifal, I introduce a generalized conception of the “slide” transformation, illustrating that such an analytical approach directly implicates Freud’s conception of the “uncanny” throughout Wagner’s mature works.
Read MoreNow we can view the two syntaxes in light of the characteristics they possess: Brahms uses tonality as a strong gravitational force, whereas he calls on voice-leading transformations to neutralize those tonal tendencies. Contrary to intuition, this culture of the syntaxes is not by nature. Indeed, tonality can serve as a means for the most outlandish of modulations (à la Reger’s Modulation), while even bizarre Riemannian transformations can serve to prop up a gravitational tonality rather than deactivate it
Read MoreBeethoven employs what I might propose be termed a “staggered crux,” one in which harmonic-functional correspondence and motivic correspondence resume at different times (we could call them the “partial crux” and the “full crux”). This is perhaps the most tactful option for Beethoven given the exposition’s use of I: HC to announce the medial caesura.
Read MoreWe might picture a youthful, unfledged character in this opening gesture, somewhat facetiously reiterating this simple punctuation mark as if discovering its use for the first time. The woodwinds in mm. 17-18 use the familiar ascending I – V7/ii – ii chord progression to “notch” the tonicized center up to d minor—yet another punctuation mark, perhaps now the exclamation point, for our amused friend to spam.
Read MoreWe await the resolution to I, which comes on the wings of the final word, “you,” with a sense of inevitability and even entitlement. That’s the function of hearing a V chord: it must resolve to our beloved I chord.
Read MoreAs the second theme begins, however, with a somewhat ominous five-note descending scalar pattern repeated over and over again, we get the sense that this is an unsolicited voice over Tchaikovsky’s shoulder rudely trying to bring him back to reality. The fate motive is, as of yet, nowhere to be found, but the omen nonetheless foreshadows the worst. We rotate through these two materials—ecstasy and crude realism—once again, before the worst possible thing happens.
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