COMMENT ⊗   VALID 00003 PAGES
C REC  PAGE   DESCRIPTION
C00001 00001
C00002 00002	. DEVICE XGP    
C00004 00003	.PAGE←161
C00008 ENDMK
C⊗;
. DEVICE XGP    
.spacing 20*5 mills;
.EVERY HEADING(,{PAGE},)
.AREA TEXT LINES 4 TO 40
.FONT 1 "MBIG[HHA,LCS]"
.font 2 "BMETI[HHA,LCS]"
.font 4 "BMUS[HHA,LCS]"
.font 6 "MBIG[HHA,LCS]"
.FONT 7 "BMORE[HHA,LCS]"
.FONT 8 "BII4[HHA,LCS]"
.!XGPLFTMAR←400
.PORTION MAIN;
.PLACE TEXT;
.PAGE FRAME 138 WIDE 106 HIGH;
.COMPACT
.COUNT PAGE FROM 1 TO 999;
.<< THICKEN UNDERLINE >>
.AT "↓_" ⊂ SNEAK(BEWARE("'177'1'46"))⊃;
.AT "_↓" ⊂ SNEAK(BEWARE("'177'1'51'4'4"))⊃;
.<< Put in a footnote. >>
.
.COUNT FOOTNOTE INLINE FROM 1 TO 999 IN PAGE PRINTING ⊂"*****"[1 TO FOOTNOTE]⊃
.<<	(IF THISDEVICE = "XGP" THEN "%51%*" ELSE "[1]");>>
.
.FOOTSEP ← "__________";
.AT "$$" ENTRY "$"
.	⊂
.	NEXT FOOTNOTE;
.	FOOTNOTE!;
.	SEND FOOT
.		⊂
.		BEGIN "NEXT FOOTNOTE"
.		SELECT 1;
.		SINGLE SPACE
.		SPACING 0 MILLS
.		INDENT 0,0,0;
.		(FOOTNOTE! & " ");
ENTRY
.		END "NEXT FOOTNOTE";
.		⊃;
.	⊃;
.
.TURN ON "%↓_↑↓[&]","α"
.at "!!" txt ";"	⊂
.("↑[%3"&"txt"[1]&"]&↓["&"txt"[2]&"]%*");
.COMMENT ("txt"[1]&"↑[%3"&"txt"[2]&"]&↓["&"txt"[3]&"]%*");
.  ⊃
.PAGE←161
.NEXT PAGE
.fill INDENT 12
	Figure 113c sets forth the main elements of a possible interpretation
which is perhaps obscured by the details in the other two analyses.
The analysis in Figure 113b does not really give a clear
picture of how this music is finally heard.  If all these 
contrapuntally-achieved chords were really taken as functional harmony,
the music would be very difficult to follow in the tonal sense.  However,
once the "Wagnerian method" is understood, the factors shown in
Figures 113a and 113b stand out in their proper relief.

	These examples from Musorgsky and Wagner have shown us two
methods by which functional ambiguity may be created.  Something
of both methods were found in each example, but with Musorgsky it
was mainly a case of rapidly juxtaposing chords which contained
incompatible chromaticism and supported no single tonic.  With
Wagner it was mainly a case of using chromatic  counterpoint in such a way as
to give little hint in the details about the specific structure of
many chords -- thereby keeping most of the functions in doubt.

.SKIP 1
.CENTER		        
_______________
.FILL
.adjust
.SKIP 2

	Almost all of Debussy's music is truly tonal, but in his later
works there are many areas which no longer depend on harmonic functions
for their basis of organization.  It is rare, however, that Debussy
transcends tonality by means of extending the "Wagnerian method" 
(although, in his own way, he uses the "method" a great deal -- as,
for example, in the opening section of %2The Afternoon of a Faune%1).
When tonality is dispensed with in his work, it is usually by 
means of presenting successions of functionally unrelated chords,
or by such means as his occasional use of the whole-tone scale,
wherein the "roots" of the various chords employed have significance
only in their contextual sense. In the first four bars of the 
following passage, the B%4F%1 chord is the %2contextual%1 rather than
the %2tonal%1 center.  Roman numerals could be applied to the various 
parallel-moving chords, but they would have no meaning in the sense
that they have been used up to now.  Harmony produced by exact
parallelism is almost always non-functional (see pages 62-63).
In this Prelude the music continues after our example with ↓_B%4F_↓%1 as
a true tonal center.

.BEGIN VERBATIM

Example 114.  Debussy, Prelude I (...Danseuses de Delphes)
			(11 bars from the end)
.END
.CENTER
%6⊂⊗⊃L[α%0.00,α%-9.68](17,22):114X.PLT[c11,LCS]⊂⊗⊃%1