The Seminal Work or, Academia Ho!

My in-progress dissertation is concerned with Hindemith. His theory of chord analysis is a fascinating rethinking of harmony, and is  potentially more viable than set theory in analysis of post-tonal music. In his The Craft of Musical Composition, Hindemith presents analyses from Machaut to Schoenberg. His Schoenberg analysis always bothered me, because it seemed perfunctory, and because it seemed to bypass a true attempt at analysis in favor of a dismissal of Schoenberg’s music.

So, I went out for the team. I started working on analyses of other works, mainly concerned with chord root analysis and melodic step-progressions. To my delight, the sixth of Schoenberg’s Op. 19 piano pieces was very plausible in a Hindemithian analysis. While it is true that the perfect fifths and fourths that Hindemith priveleges are not as predominant, the melodic and harmonic intervals that Schoenberg himself prefers are structurally significant. Further, the upper voice and the general melodic tendency form a wonderful descending step-progression, crossing over 4 octaves in the course of less than 20 measures. Herewith, please find a more detailed discussion of the analyses that inspired my dissertation’s theoretic work.

Hindemith and Progression

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One Response to “The Seminal Work or, Academia Ho!”

  1. Juan Rodriguez Says:

    Hi there
    I am searching for those very familiar with the theories of Hindemith.
    Are you such?
    Feel free to email.
    Juan R.

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