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Streams
Interacting Pulse
Atonal
Polyphony
in
Schoenberg's
John Roeder
Rhythmic organizationin much of Schoenberg'smusic extends and even transcends common metrical practice. Innovation is evident especially in his middle-periodworks where
the texture is highly polyphonic and the often canonic voices
are saturated with a few distinct motives. Although regular pulses are fleetingly evident in these works, the surface
rhythmschange rapidly and irregularly.Constantly changing
meter signaturesapparentlypreclude the regularhierarchyof
pulses necessary for hypermeter. For example, the opening
of the Little Piano Piece, Op. 19 No. 1, reproduced in Example 1, presents a polyphony of temporally overlappingbut
distinguishable rhythmic groups, each consisting of diverse
arrangementsof accents. The irregular accents do not conform to the notated meter signatures, nor to any single regular pulse for that matter. Even in pieces that parody conventional tonal forms and phrase structures, such as the
texturally and metrically more regular twelve-tone works,
rhythmicgestures are accentuallyshaped contraryto the notated meter.1
The fragmentarytexture in this music suggests analyzing
it in terms of pitch-class sets-that is, essentially without re1See, for instance, the composer'sdiacriticsin m. 22 of the Prelude to the
Suite, Op. 25, or in mm. 3-4 of the first movement of the Fourth String
Quartet, Op. 37.
gard to accents arising from pitch order, contour, or duration within segments. However research by Harald Krebs
and Paul Johnson has revealed that Schoenberg conceived
some of his pieces primarily rhythmically, insofar as he
sketched several versions using the same rhythms but different pitches.2 Moreover in some of his theoretical writings
Schoenberg cites some complex polyphonies by Mozart and
Brahms as instances of a "progressive"rhythmicpractice that
influenced his music.3 Manifestly an analytical method is
2HaraldKrebs, "ThreeVersionsof Schoenberg'sOp. 15, No. 14: Obvious
Differences and Hidden Similarities,"Journal of the Arnold SchoenbergInstitute 8, no. 2 (1984): 131-40. His Example 1 demonstrates a "great similarity"of the vocal rhythmin the three sketched versions of Op. 15, No. 14;
he also describes a similarity in motives, and in the use of hemiola. Paul
Johnson, in "Rhythmand Set Choice in Schoenberg'sPiano Concerto,"Journal of the Arnold Schoenberg Institute 11, no. 1 (1988): 38-51, displays
sketches of three versions of the concerto's opening. The sketches use different twelve-tone "sets" but the rhythm is the same in every case. Johnson
comments: "Therhythmof the opening 35 barstook precedenceover his pitch
ideas. ... Rhythm was the primaryfeature of all the other sketches of the
opening.... It is the pitches in the final version that are adjusted, not the
rhythm" (48).
3Arnold Schoenberg, Theory of Harmony, 3d ed. [1922], trans. Roy E.
Carter (Berkeley and Los Angeles, University of California Press, 1978),
435-38. Also "Brahmsthe Progressive"[1947], in Style and Idea, trans. Leo
Black (Berkeley and Los Angeles: University of California Press, 1984),
232
MusicTheory Spectrum
^n^^
"
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-_
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4 ^
fliichtig
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sonance" against the meter, act "motivically" within cadences.5 Both of these interpretationsof the formal function
of rhythm conceive of meter as exclusive-that is, only one
meter may be present in any timespan-and hierarchizingthat is, all timepoints are assigned strong or weak status
within a regulargroupingof beats. This conception is shared
by many theorists, notably by Lerdahland Jackendoffin their
Well-Formedness and Preference Rules, which reflect the
metricallyregular, homophonic foregroundsof tonal music.6
But this concept of meter greatly simplifiesthe fundamentally
polyphonic character of this music.
This essay presents an analytical theory that offers a different interpretationof the accent patterns in music like Example 1. Essentially the theory represents rhythmicpolyphony as two or more concurrent "pulse streams" created by
regularlyrecurringaccents. These pulse streams are considered to be distinct continuities, not "levels" or groupings of
sCharlesD. Morrison, "Syncopationas Motive in Schoenberg'sOp. 19,
Nos 2, 3 and 4," Music Analysis 11 (1992): 75-93.
6FredLerdahl and Ray Jackendoff,A GenerativeTheoryof Tonal Music
(Cambridge:MIT Press, 1983), 68-104.
234
"-a half note apart, but its next accent is not a half note later.
Conceiving of the rhythm in terms of just one part, such as
the recitation, neglects the intrinsicallycontrapuntalquality
of the texture, in particularthe interaction of the recitation
and the seven-note motive. Alternatively, pulse-streamanalysis can incorporate all these irregularities into a broadly
operative process that is intrinsicallypolyphonic and accounts
for the many inconsistencies between the notated meter and
the motivic/accentual contents of the parts.
Just below the score is presented the rhythmicskeleton of
the passage, which displays the durations articulatedby each
voice in the texture, and which reduces the information the
score gives about contour and dynamic accents to alphabetical annotationsover the noteheads, as indicatedby the key.16
Thus each skeleton notehead marked by an A, P, or D corresponds to the vertically aligned event in the score whose
To understandthe analytical method and to gauge its potential, consider the familiar opening of the first song of
Schoenberg's Pierrot lunaire, Op. 21, reproduced at the top
of Example 2. Even a cursory examination of the score reveals problems of rhythmic analysis that are not easily resolved by recourse to concepts of meter and syncopation
based on homophonic tonal models. Judgingsimply from the
constantly changing meter signatures, there seems to be no
regularmeter. Motives, such as the opening seven-note piano
gesture, vary in their locations within the notated bars. Neither are nonmotivic textural voices metrically regular; for
example, the recitation, arguably the focus of the texture,
places its firstaccents--on the syllables "Wein"and then "Au-
236
piano:
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violin:r
ff^4?Q?~~~~~~.A
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o:
flut:
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recitation:
Den
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Wein, den
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mit
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piano:
gen
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flute:
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Skeleton:
flute:
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Ft5
F#5
Ft5
F#5
FS5
Ft5
F#5
F 5
FO5
F-3
*1
violin:
Dt5
Dt5
D#5
DOS
r;
recitation:
I
Pulses:
,*
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Original
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mit
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Commentary:
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Dynamic accent
J'
"Agogic" accent
0)
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nie- der
I
Interacting Pulse Streams in Schoenberg's Atonal Polyphony
237
Example 2 [continued].
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flut
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238
MusicTheory Spectrum
240
MusicTheory Spectrum
242
MusicTheory Spectrum
Motive:
Shifted
Motive:
Shifted J-
Recit.:
Original
Recit.:
Shifted
and
P pulses
established
Original J stream
Shifted
stream
brief
interruption
puses
resume
(conjunction)
longer
interruption
Reorientationof
motive and recitation
with pulse streams
21Yeston, 55-65.
(end of stanza)
.1
.0
(canon)
Originalstate
Line 3 (noun)
und eine Springflutuber-
Motive:
Recit.:
) and ,
pulese
pulses disrupted
(another canon)
(another
Original o
Original
both
pulses
restored
canon)
Another reorientation
of recitation
with pulse streams
And another.
Motive, recitation, and
pulses most different
from their originalstate
Originalstate restored
(1) A dotted-half-note pulse (A) is established by the opening attack of the violin, the recitation's attack on the word
"bleiche," accented by duration and contour, and the piano's
{D4,G#t4}. This dyad takes accent partly because it ends
a brief gesture and because no piano event follows it for a
relatively long duration, as if it were durationally accented.
Also, since the piano is imitatingthe rhythmof the recitation,
as suggested by the dashed-line boxes on the analysis, this
dyad is placed within the piano's rhythm analogously to the
accented attack of "bleiche." Quarter-note and eighth-note
pulses (not shown) are also quickly established.
(7) That abandonment is doubly manifest here as the recitation produces a strong durational and contour accent a
dotted-half after its previous accent, and as its rhythm, indicated by the diagonal lines, imitates the dotted-halfgrouped rhythm of the violin. The durationalpattern setting
"Wunderrosen"establishes a new dotted-half pulse that is
out of phase with the original one. It is notated and labeled
C near the bottom of the analysis. A dotted-half later, however, at
(8) the recitation does not continue this new dotted-half
pulse. This omission articulatesthe syntacticalboundary between noun and verb phrases. In the piano, however, agogic
and dynamic accents do reactivate the pulse. Next, there is
some ambiguityin the orientation of the texturalvoices to the
pulse streams, for another half-note pulse stream, shown and
labeled D on the very bottom line of the analysis, is activated
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246
MusicTheorySpectrum
248
P A
J.
1. .
r'n:
AD
?7
A
Pulses:
r_r7
|I B -L!
!
I,
'7
i.
N
NO!|
J J J
(J,)
J.:---W -- W
II------I -,
Commentary:
0(?
rF
I j.
.
iI
(d-)
I
Key:
P
p
r
D
Dynamic accent
an important word.24 In both pieces, the alignment of rhythmic patterns with the pulse streams is significant. Both pieces
241n"Der Dandy," Op. 21 No. 3, a whole-note pulse and a five-eighth-note
pulse that are not synchronizedat the startof the piece coincide at the attack
of the first noun, "Lichtstrahl."