Disjunct Intervals within Melody : meanings and Functions through Schenkerian and Post-Schenkerian Theories
Cécile Bardoux Lovén · 2015
Disjunct Intervals within Melody: Meanings and Functions through Schenkerian and Post-Schenkerian Theories Composing melody with disjunct intervals is not only a question of taste and style, but also a question of meaning and function. Thus, disjunct intervals may play different roles within melodic structures. Theoreticians from the 20th century have given new insights to analysts, performers and composers. Among them, Heinrich Schenker elaborated a theory that concerns the melodic structure, unfolding and implication within the musical organism. Followers developed further the ideas in different directions. The paper will propose a comparative study about the disjunct interval according to Schenker, to Schenkerian teachers (from Salzer to Cadwallader) and to post-Schenkerian theorists. A systematic presentation along with analytic examples will efficiently highlight the different meanings, tools, and graphic representations. The study will thus put forward what a student or a teacher in composition may learn from this evolution and this may contribute to renew melodic approach and creativity.