Download Added-Tone Sonorities in the Choral Music of Eric Whitacre

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are undoubtedly conceived of as chords by Whitacre. The added 2 chord, specifically, is
treated as a stable sonority on par with a major or minor triad.
3
3
1
1
2
1
5
19
46
2
38
10
6
3
7
18
13
19
12
1
6
# of appearances
2
2
1
1
2
1
2
5
3
2
3
2
1
2
3
1
2
5
3
1
4
# of chord types
1,5,8
1,5,9
1,5,t
1,6,t
1,8,t
1,9,t
2,5,8
2,5,9
2,5,t
2,5,e
2,6,9
2,6,t
2,6,e
2,8,t
2,9,t
2,9,e
5,8,t
5,9,t
5,9,e
6,9,t
6,9,e
Four Added Tones
tones added
9
1
12
2
96
31
4
38
35
46
1
25
42
82
38
9
26
11
6
33
19
11
# of appearances
3
1
3
1
16
9
3
8
5
4
1
1
5
6
10
5
7
5
5
4
4
3
# of chord types
1,5
1,8
1,t
2,4
2,5
2,6
2,8
2,9
2,t
2,e
3,5
5,6
5,8
5,9
5,t
5,e
6,9
6,t
6,e
8,t
9,t
9,e
Three Added Tones
tones added
10
255
1
210
33
87
92
98
104
# of appearances
# of appearances
5
15
1
15
7
10
9
10
7
# of chord types
# of chord types
1
2
4
5
6
8
9
t
e
Two Added Tones
tones added
tones added
One Added Tone
1,5,8,t
2,5,8,t
2,5,9,t
2,5,9,e
2,6,9,t
2,6,9,e
1
2
3
2
1
1
2
10
14
10
1
7
Table 10: Added-tone combinations by number of added tones
Whitacre’s chords lend themselves to an interpretation as added-tone sonorities.
In fact, approximately two thirds of Whitacre’s chord types can be interpreted within the
top third of the continuum of credulity (see Table 11). Thus, an interpretation of his
music as a succession of added-tone sonorities is quite credible, and may well represent a
listener’s experience of his music. Additionally, as will be seen in the following
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