Organized Time: Rhythm, Tonality, and Form

441 Pages·2018·35.501 MB·English

by  Jason Yust

Organized Time
OXFORD STUDIES IN MUSIC THEORY
Series Editor Steven Rings
Studies in Music with Text, David Lewin
Music as Discourse: Semiotic Adventures in Romantic Music, Kofi Agawu
Metric Manipulations in Haydn and Mozart: Chamber Music for Strings, 1787–1 791, Danuta Mirka
Songs in Motion: Rhythm and Meter in the German Lied, Yonatan Malin
A Geometry of Music: Harmony and Counterpoint in the Extended Common Practice, Dmitri Tymoczko
In the Process of Becoming: Analytic and Philosophical Perspectives on Form in Early Nineteenth- Century
Music, Janet Schmalfeldt
Tonality and Transformation, Steven Rings
Audacious Euphony: Chromaticism and the Triad’s Second Nature, Richard Cohn
Mahler’s Symphonic Sonatas, Seth Monahan
Beating Time and Measuring Music in the Early Modern Era, Roger Mathew Grant
Pieces of Tradition: An Analysis of Contemporary Tonal Music, Daniel Harrison
Music at Hand: Instruments, Bodies, and Cognition, Jonathan De Souza
Organized Time: Rhythm, Tonality, and Form, Jason Yust
ORGANIZED TIME
Rhythm, Tonality, and Form
JASON YUST
1
1
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Library of Congress Cataloging- in- Publication Data
Names: Yust, Jason author.
Title: Organized time : rhythm, tonality, and form / Jason Yust.
Description: New York, NY : Oxford University Press, 2018. | Series: Oxford
studies in music theory | Includes bibliographical references and index.
Identifiers: LCCN 2018006558| ISBN 9780190696481 (hardcover) |
ISBN 9780190696511 (oxford scholarly online)
Subjects: LCSH: Musical meter and rhythm. | Musical form. | Musical analysis.
Classification: LCC ML3850 .Y87 2018 | DDC 781.2/2—dc23
LC record available at https://lccn.loc.gov/2018006558
1 3 5 7 9 8 6 4 2
Printed by Sheridan Books, Inc., United States of America
This volume is published with the generous support of the AMS 75 PAYS
Endowment of the American Musicological Society, funded in part by the National Endowment
for the Humanities and the Andrew W. Mellon Foundation.
Dedicated to my traveling companions, Kelly and Henry

Contents
Acknowledgments ix 3 Formal Structure 59
Introduction 1 3.1 Elements of Form: Repetition, Contrast,
Fragmentation 60
Time and Landscape 1 3.2 Small Baroque Forms 67
Dimension 5 3.3 Expositions and the Secondary
Theme 70
1 Rhythmic Hierarchy and the 3.4 Interactions of Form and Tonal
Network Model 12 Structure 81
1.1 Metrical and Rhythmic Structures as
4 Structural Networks and the
Temporal Hierarchies 12
Experience of Musical Time 91
1.2 Rhythmic Classes and
Transformations 16 4.1 Depth, Distance, and Classification
1.3 Inferring Rhythmic Hierarchies 19 of Structural Shapes 91
1.4 Metricality 24 4.2 A Phenomenology of Structure 98
4.3 Center, Skew, and Bias 103
2 Tonal Structure 28 4.4 Splitting and Disjunction 105
2.1 Melodic Structure 29
5 Timespan Intervals 109
2.2 Backgrounds 35
2.3 Repetition 43 5.1 Large- Scale Rhythmic Design in Bach’s F
2.4 Keys 47 Minor Fugue 110
2.5 Tonal Models for Binary Forms 53 5.2 Classification of Timespan Intervals 113
• vii
5.3 Hypermetrical Hemiola in a Bach 11 Reforming Formal Analysis 266
Prelude 115
5.4 Transformations of Rhythmic 11.1 Tonal- Formal Disjunction and the
Structures 118 Phrase 266
11.2 R itornello Form in the
6 Hypermeter 123 Eighteenth- Century Symphony 269
11.3 Form(s) and Recipes 282
6.1 Hypermeter in the Eye of the 11.4 Beyond the Frame 290
Beholder 123
6.2 Some Criteria for Hypermetrical 12 Tonal- Formal Disjunction 309
Analyses 126
6.3 Functions of Hypermetrical Shift in 12.1 High- Level Tonal- Formal Disjunction in
Haydn’s Symphonies 133 Sonata Form 309
6.4 Indefinite Hypermeter and Hypermetrical 12.2 Alternate Subordinate Keys 311
12.3 D isjunction in the Exposition:
Reinterpretation 140
Modulating Subordinate Themes 320
7 Hypermeter, Form, and Closure 145 12.4 Off- Tonic Recapitulations 327
7.1 Hypermetrical Placement in Cadential 13 Graph Theory for Temporal
Syntax 146 Structure 342
7.2 Mozart’s Afterbeat Melodic Ideas 151
7.3 Main Theme Endings in Haydn’s 13.1 Planarity and Cycles 342
Symphonies 159 13.2 Direction and Confluence 347
7.4 Elided Cadences and Expositional 13.3 Holes 352
Closure 162 13.4 MOPs as Trees 353
7.5 Beethoven’s Open Expositions 170 13.5 R eduction Trees, Event Trees, and
Spanning Trees over MOPs 359
8 Syncopation 177 13.6 Spanning Trees and the Cycle/ Edge- Cut
Algebras 363
8.1 Contrapuntal and Tonal versus Structural
Syncopation 178 14 A Geometry of Temporal
8.2 Contrapuntal Syncopation and Metrical Structure 373
Dissonance 180
8.3 Hypermetrical Syncopation and 14.1 Associahedra 373
14.2 H igher Dimensional Associahedra and
Contrapuntal Displacement 188
8.4 Rhythmic Process as Formal Process in their Facets 381
Beethoven 191 14.3 Evenness 387
9 Counterpoint 203 Epilogue 393
9.1 Rhythmic Counterpoint 203 Bibliography 397
9.2 Brahms’s Use of Rhythmic Irregularity and Index of Works 411
Rhythmic Counterpoint 208 Index 415
9.3 Counterpoint of Tonal Structures 219
9.4 Formal Counterpoint 225
10 Harmony Simplified 232
10.1 Harmonic Syntax and Structure 232
10.2 Voice leading on the Tonnetz 243
10.3 Enharmonicism 250
viii • CONTENTS
Acknowledgments
AS IN any work of the scope of this one, the comments were transformational to the even-
debts are many and impossible to fully enu- tual form and content of the book. In addition,
merate. All of the many music theorists whose I thank Fred Lerdahl for his encouragement and
work is discussed in this book have challenged helpful comments on some of chapters, and
and enriched my understanding of tonal music David Kopp for his selfless professional support
with their work, and many of them have helped without which this project never would have
me along the way with many pivotal personal materialized.
communications and interactions at many All of the (many!) musical examples in the
question- and- answer sessions at conferences book are set using Lilypond (lilypond.org).
and invited lectures. Despite my fear of leaving Although I have never directly interacted with
the list incomplete, Fred Lerdahl, Bill Caplin, the members of the Lilypond development com-
Janet Schmalfeldt, Lewis Lockwood, Alan munity, I am heavily indebted to their work
Gosman, Mary Farbood, Dmitri Tymoczko, on this open- source software, which, in my
and Richard Cohn come immediately to mind opinion, surpasses any commercial software
as those who have been generous in sharing in the attractiveness of its results. I also would
their knowledge and to whom the ideas of this not have been able to access all the many scores
book bear a direct debt in large and small ways. needed for the analyses and surveys that make
I must thank Steven Rings especially for his tre- up the bulk of this book without the vital re-
mendous support for the project and invaluable source of the International Music Score Library
comments on earlier drafts, as well as the anon- Project (imslp.org), which has made it possible
ymous reviewers engaged by Oxford University to view manuscripts (such as Johann Gottlieb
Press, whose work on the proposal chapters Graun’s F major Symphony, Av.49, analyzed
went beyond the call of duty and many of whose in chapter 11) that would have ten years ago
• ix