Most analytical methods are designed to address either tonal music or atonal music, but no single method completely illuminates this body of extended-tonal music. Many musical compositions from the end of the nineteenth century and the beginning of the twentieth century retain some elements of functional tonality but abandon others. The readings proposed by these analyses suggest an emergent function for the music in Daphnis et Chloé, acting as a counter-discourse to the doxical narrative outlined by the libretto. Finally (Chapter 6), an analysis of Chloe’s ‘Danse suppliante’ examines the gendered connotations of the waltz. Chloe emerges as a narrative subject in her own right, with Daphnis posited as narrative antisubject. Lyceion’s dance is contextualised as part of the contemporary ‘Salome craze’, and a close analytical reading of the ‘Pantomime’ (Chapter 5) draws out some of the more significant divorces between the narratives of the libretto and the music. The examination of masculinity is developed in an analysis of the ‘War Dance’ (Chapter 4), which also considers the broader significance of the god Pan. This scene is also considered from a broader cultural and historical context, informed by fin-de-siècle constructions of masculinity. An examination of the dance contest between Daphnis and Dorcon (Chapter 3) explores isomorphisms between narrative and voice-leading structures, and processes of tonicisation are investigated as instances of transvaluation. The work is examined as an example of transvaluation, in which the musical score is understood to call into question the gendered cultural values inscribed in the libretto.įive scenes from the ballet are considered in detail. These ‘meaning gaps’ are freighted with the hermeneutic potential of Riffaterre’s ‘ungrammaticalities’, constituting a ‘guideline to semiosis’. Employing a combination of narratological and Schenkerian analysis, this thesis argues that there are significant moments of divergence between the gendered narratives outlined by the libretto and the music in Ravel’s ballet Daphnis et Chloé. This thesis seeks to contribute towards the emerging discourse in Ravel studies concerning gender, as well as adding to the ongoing work in musical narratology, especially as regards ballet, to which very little narratological attention has been given. Bu çalışmada, Schenker Analizi'nin temel felsefesi ve Klasik Batı Müziği repertuarı dışındaki eserlere uygulanmasına ilişkin güncel çalışmalar ele alınmakta ve "müzikal analizin hangi boyutlara ulaştığı" sorusuna yanıt aranmaya çalışılmaktadır.Īnahtar sözcükler: Müzikal analiz, Schenker, temel yapı
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Şu halde, müzikal analiz bağlamında, günümüz müziğini anlamlandırabilmenin temelinde söz konusu sistemi tanımanın hayati önem taşıdığı kuşkusuzdur. Yüzyıl'ın en önde gelen iki analiz sisteminden biri olan ve Bach ailesinden Brahms'a uzanan geniş bir yelpazede, tonal müziğin mimarisini en çarpıcı biçimde açıklayan Schenker Analizi'ninprensipleri günümüzde, a-tonal yapıtlardan Caz'a, popüler müziklerden etnik müziklere dek, çok geniş bir yelpazeye dağılmıştır.
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Keywords: Musical analysis, Schenker, fundamental structure In this study, the basic philosophy of Schenker Analysis and contemporary studies related to the application of Schenker Analysis principles on musical works those are not included in the Classical Western Music repertoire are presented and the question of "Up to where the dimensions of musical analysis reached ?" is tried to be answered. Therefore, undoubtlessly, in the context of musical analysis it is vitally important to be acquainted with Schenker Analysis in order to understand todays music. Today, the principles of Schenker Analysis is applied on a wide musical spectrum constituted of a-tonal works, jazz, popular music and ethnic musics. Schenker Analysis, being one of the two prominent analytical systems (together with the Set Theory)of the 20th Century, explains the architecture of the tonal music strikingly in the context of works from Bach family through Brahms.