{"id":5192,"date":"2019-02-12T16:38:44","date_gmt":"2019-02-12T16:38:44","guid":{"rendered":"https:\/\/nma.bg\/almanac_en\/?p=5192"},"modified":"2020-06-09T19:18:27","modified_gmt":"2020-06-09T19:18:27","slug":"harmonic-practice-in-debussys-and-schoenbergs-early-works-a-reflection-of-divergent-scholastic-traditions","status":"publish","type":"post","link":"https:\/\/nma.bg\/almanac_en\/harmonic-practice-in-debussys-and-schoenbergs-early-works-a-reflection-of-divergent-scholastic-traditions\/","title":{"rendered":"Harmonic Practice in Debussy\u2019s and Schoenberg\u2019s Early Works:  A Reflection of Divergent Scholastic Traditions?"},"content":{"rendered":"<p>Hardly any other topic in music theory is as tradition-bound as that of harmony. The divergences in this matter between the Germanic and French traditions, and the resultant pedagogy in music schools and conservatories, are remarkable. For example, solely on the topic of modulation, we see that a) the German term <em>Terzverwandtschaft<\/em> has no French equivalent and b) in Germanic schools chromatic modulation is explained in relation to the tonic of the outgoing tonality, whereas in the French tradition it is seen as a special resolution of its dominant chord. Consequently, German and French harmonic analysis of this repertory split along these lines; a comparison of German articles about Debussy with the way his music is (mostly orally) analysed in France clearly shows this divergence. Is it possible then that the didactic methods themselves influenced composers and thus the development of music?<\/p>\n<p>Debussy and Schoenberg, who shared a common stylistic origin with Richard Wagner and the Post-Romantic composers, both threw open the doors to the musical aesthetics and languages of the 20<sup>th<\/sup> century, even if they led in different directions in France and Austria Already in their early works, the characteristics of Impressionism and the Second Viennese School were on clear display. In examining Schoenberg\u2019s early Lieder (<em>7 Early Songs <\/em>through opus 6, written over the period 1894 \u2013 1905), we can see that his compositional process was predominantly contrapuntal with its use of modulating chord progressions and non-harmonic tones. Similarly influenced by his own pedagogical context, Debussy\u2019s <em>M\u00e9lodies<\/em> (<em>Ariettes oubli\u00e9es, Chansons de Bilitis, Trois chansons de France, F\u00eates galantes<\/em>, written over the period 1885 \u2013 1904) illustrate his \u201cacoustic\u201d harmonic thinking in which primary importance lies in dominant harmonies with characteristic alterations and added tones. The work here presented will show that it is likely that the respective styles of both composers derived from the traditions and didactic conventions with which they were confronted and that these schools of thought influenced the later development of atonality through to the French musical aesthetics of the 1970<sup>s<\/sup> (<em>i.e<\/em>., <em>musique spectrale<\/em>, Grisey, Murail, Manoury, Levinas).<\/p>\n<p>&nbsp;<\/p>\n<p><strong><em>Keywords<\/em><\/strong><strong>:<\/strong> Sch\u00f6nberg, Debussy, Harmonielehrb\u00fccher und Unterrichtstraditionen, Terzverwandtschaft, Tonika-, Mediante-, und Dominant-Funktionen, Akkordfolgen V \u2013 IV<\/p>\n<!--themify_builder_content-->\n<div id=\"themify_builder_content-5192\" data-postid=\"5192\" class=\"themify_builder_content themify_builder_content-5192 themify_builder tf_clear\">\n    <\/div>\n<!--\/themify_builder_content-->\n","protected":false},"excerpt":{"rendered":"<p>Hardly any other topic in music theory is as tradition-bound as that of harmony. The divergences in this matter between the Germanic and French traditions, and the resultant pedagogy in music schools and conservatories, are remarkable. For example, solely on the topic of modulation, we see that a) the German term Terzverwandtschaft has no French [&hellip;]<\/p>\n","protected":false},"author":104,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[114],"tags":[126],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v16.6 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Harmonic Practice in Debussy\u2019s and Schoenberg\u2019s Early Works: A Reflection of Divergent Scholastic Traditions? | ALMANAC<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/nma.bg\/almanac_en\/harmonic-practice-in-debussys-and-schoenbergs-early-works-a-reflection-of-divergent-scholastic-traditions\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Harmonic Practice in Debussy\u2019s and Schoenberg\u2019s Early Works: A Reflection of Divergent Scholastic Traditions? | ALMANAC\" \/>\n<meta property=\"og:description\" content=\"Hardly any other topic in music theory is as tradition-bound as that of harmony. The divergences in this matter between the Germanic and French traditions, and the resultant pedagogy in music schools and conservatories, are remarkable. For example, solely on the topic of modulation, we see that a) the German term Terzverwandtschaft has no French [&hellip;]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/nma.bg\/almanac_en\/harmonic-practice-in-debussys-and-schoenbergs-early-works-a-reflection-of-divergent-scholastic-traditions\/\" \/>\n<meta property=\"og:site_name\" content=\"ALMANAC\" \/>\n<meta property=\"article:published_time\" content=\"2019-02-12T16:38:44+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2020-06-09T19:18:27+00:00\" \/>\n<meta name=\"twitter:card\" content=\"summary\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"2 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebSite\",\"@id\":\"https:\/\/nma.bg\/almanac_en\/#website\",\"url\":\"https:\/\/nma.bg\/almanac_en\/\",\"name\":\"ALMANAC\",\"description\":\"National Academy of Music \\u201cProf. Pancho Vladigerov\\u201d\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/nma.bg\/almanac_en\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/nma.bg\/almanac_en\/harmonic-practice-in-debussys-and-schoenbergs-early-works-a-reflection-of-divergent-scholastic-traditions\/#webpage\",\"url\":\"https:\/\/nma.bg\/almanac_en\/harmonic-practice-in-debussys-and-schoenbergs-early-works-a-reflection-of-divergent-scholastic-traditions\/\",\"name\":\"Harmonic Practice in Debussy\\u2019s and Schoenberg\\u2019s Early Works: A Reflection of Divergent Scholastic Traditions? | ALMANAC\",\"isPartOf\":{\"@id\":\"https:\/\/nma.bg\/almanac_en\/#website\"},\"datePublished\":\"2019-02-12T16:38:44+00:00\",\"dateModified\":\"2020-06-09T19:18:27+00:00\",\"author\":{\"@id\":\"https:\/\/nma.bg\/almanac_en\/#\/schema\/person\/62b8d57b8a295a0acc32582113942a79\"},\"breadcrumb\":{\"@id\":\"https:\/\/nma.bg\/almanac_en\/harmonic-practice-in-debussys-and-schoenbergs-early-works-a-reflection-of-divergent-scholastic-traditions\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/nma.bg\/almanac_en\/harmonic-practice-in-debussys-and-schoenbergs-early-works-a-reflection-of-divergent-scholastic-traditions\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/nma.bg\/almanac_en\/harmonic-practice-in-debussys-and-schoenbergs-early-works-a-reflection-of-divergent-scholastic-traditions\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"\\u041d\\u0430\\u0447\\u0430\\u043b\\u043e\",\"item\":\"https:\/\/nma.bg\/almanac_en\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Harmonic Practice in Debussy\\u2019s and Schoenberg\\u2019s Early Works: A Reflection of Divergent Scholastic Traditions?\"}]},{\"@type\":\"Person\",\"@id\":\"https:\/\/nma.bg\/almanac_en\/#\/schema\/person\/62b8d57b8a295a0acc32582113942a79\",\"name\":\"Violaine de Larminat\",\"image\":{\"@type\":\"ImageObject\",\"@id\":\"https:\/\/nma.bg\/almanac_en\/#personlogo\",\"inLanguage\":\"en-US\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/f69c737d0db6b934b6f9fc28daa71eb8?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/f69c737d0db6b934b6f9fc28daa71eb8?s=96&d=mm&r=g\",\"caption\":\"Violaine de Larminat\"},\"url\":\"https:\/\/nma.bg\/almanac_en\/author\/violaine-larminat\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","_links":{"self":[{"href":"https:\/\/nma.bg\/almanac_en\/wp-json\/wp\/v2\/posts\/5192"}],"collection":[{"href":"https:\/\/nma.bg\/almanac_en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/nma.bg\/almanac_en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/nma.bg\/almanac_en\/wp-json\/wp\/v2\/users\/104"}],"replies":[{"embeddable":true,"href":"https:\/\/nma.bg\/almanac_en\/wp-json\/wp\/v2\/comments?post=5192"}],"version-history":[{"count":2,"href":"https:\/\/nma.bg\/almanac_en\/wp-json\/wp\/v2\/posts\/5192\/revisions"}],"predecessor-version":[{"id":5194,"href":"https:\/\/nma.bg\/almanac_en\/wp-json\/wp\/v2\/posts\/5192\/revisions\/5194"}],"wp:attachment":[{"href":"https:\/\/nma.bg\/almanac_en\/wp-json\/wp\/v2\/media?parent=5192"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/nma.bg\/almanac_en\/wp-json\/wp\/v2\/categories?post=5192"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/nma.bg\/almanac_en\/wp-json\/wp\/v2\/tags?post=5192"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}