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CHAPTER XI
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TONAL DISSOLUTION:  CONCLUSION
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	Musical %2meaning%1 is conveyed by particular uses of musical
conventions which are either known in advance and apply to a large body
of works, or are learned in the course of an individual work itself.
Evolution seems to be able to push forward the "known" conventions only
to a certain point -- then a revolution is necessary to make the final
break into an area where fresh nuances of expression are possible.
Try as they may, however, revolutionaries are never able to make a
complete break with their past.  Their most important accomplishment
is that they bring to the fore a reassessment of older values.  The
radical shift of emphasis seems to the casual observer like a complete
rejection of the status quo.  Indeed, at %2the%1 moment$$The length of
this "moment" depends on many factors -- especially the talents of the
individuals directly involved.$ of revolution a certain amount of chaos
seems to exist.  In this brief time it is common to find experimental
probes in every direction that seem to have little relation to each
other beyond the fact that they, in some striking fashion, are all
%2unlike%1 the immediate past.

	Eras of musical revolution are especially difficult
for the most gifted composers, because their audience cannot yet be
expected to have assimilated the significant elements of the musical
re-evaluation which these composers are guiding.  However, it is
inevitable (just so long as the new music %2is%1 actually performed)
that a "revolutionary" composer's audience will gradually become aware
of the salient features of the new style.  This is true because the
individual members of the audience are, after all, a part of the same
general musical culture as is the composer.  The %2bases%1 of his
musical thought, no matter what his creativity might add, are common 
to all the sophisticated members of his society.

	Many musicians have felt that the seeds of tonal dissolution
were present in the basic premises of functional harmony.  Once such
a form of tonality came into general use, the inherent possibilities
of significant relationships between tonalities were brought to the
fore.  The only convincing means of moving from tonic to tonic is
through the introduction of functional chromaticism.  But this process
is both constructive and destructive.  It establishes or emphasizes
new tonal centers and, in so doing, naturally undermines old ones.
Most often in tonal music the chromaticism is so applied as to throw
the balance strongly in the constructive direction.  That is, the new
tonics are supplementary in nature (even when the result of modulation)
and serve as massive elaboration of one basic tonic.  Already in the
middle of the 19th century, however, the midpoint of this balance was
being approached.  Without a great deal of motivic unity and the frequent
use of harmonic sequences, some of the music of that time might truly
have been as chaotic as a few of the contemporary critics believed it
to be.

	As more and more dramatic harmonic relationships were sought,
the more apparent it was that tonality, as the all-important unifying
force, was becoming inadequate.  The tonal center shifted so soon
and so often that it no longer provided a useful point of departure;
or (and even more important) the linear elements began to be combined
in such a manner as to create constant doubt concerning a specific
harmonic function at any given point.  As motivic values increased in
importance, the distinctions between functional versus non-functional
chromaticism and chord versus non-chord notes became arbitrary.  The
%2implications%1 of tonality replaced the %2reality%1 of tonality.
If new music was to retain its vitality, nothing was left at this point
but to call upon a new basic unifying concept.  The word "contextuality"
seems best to describe this concept as it exists in music that
is truly of the 20th century.
.next page

	To greatly over-simplify the case, it might be said that the
early composers of this new music generally embarked on one of two
main routes.  These might be characterized by the terms "diatonicism"
and "chromaticism".$$By the middle of the 20th century, the distinctions
between these two types of composers were well on the way toward
vanishing.$  The "diatonic" composers (often of the "French" school)
tended to use unaltered tonal scales and chords built on thirds as 
their materials.  Chromaticism existed mainly in terms of juxtapositions
or combinations of diatonic units (polytonality), and although there
were many %2references%1 to conventional 
functional harmony, the %2particular uses%1
of the overall material were clearly the most important bases of 
unity.$$For very good examples of this style, see the piano pieces, %2Saudades
do Brasil%1, written by Darius Milhaud in the early 1920s.$  The
"chromatic" composers (mainly of the "German" school), on the other
hand, developed the idea of the freely existing %2motive%1.  The lines
containing such motives often resembled late 19th-century lines, but
when put in combination with one another, there was little pretense of
underlying chords built on thirds which might give clear definition to
specific tonic areas.  Any chord structure could be used
just so long as it had motivic value or proved to be no more than the
vertical result of several significant lines.  Here again, the %2use%1
of the material -- the %2context%1 -- was the main basis of organization.

	With the aid of examples from Musorgsky's %2Boris Godounov%1
(1874) and Wagner's %2Parsifal%1 (1882), we shall discuss some of the
problems which must be faced when analyzing the music which made these
early 20th-century "schools" possible.  Then we will conclude with a
discussion of excerpts from music representative of the end of tonal
evolution:  Debussy's %2Preludes for Piano%1 (c.1908) and the
%2Kammersymphonie%1, Op.9, (1906) of Schoenberg.

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	The greatly increased dramatic (in the literary sense) use of
music in the second half of the 19th century was a primary factor in
the rapid demise of functional harmony.  In the following excerpt from
%2Boris%1, Musorgsky creates "dream" music by at first avoiding the
clear "reality" of specific harmonic function.  There is also much
"tone painting" apart from the functional element.  The %2stepwise%1
staccato quarter-notes = a "long ... staircase".  The ascending
triads = "led me to a tower".  The low, rolling notes = "the crowd
(below) ... thronged the square".  The staccato sixteenths = "mocking
laughter".

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Example 112.  Musorgsky, Boris Godounov, Act I, Scene 1
			(Chester piano score, pp.49-50)
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