Olli I Väisälä | University of the Arts Helsinki (original) (raw)
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Queens College and Graduate Center of the City University of New York
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Papers by Olli I Väisälä
Music Theory Online, 2008
This commentary discusses the Schenkerian interpretation of the opening of Brahms’s Piano Quartet... more This commentary discusses the Schenkerian interpretation of the opening of Brahms’s Piano Quartet No. 3, earlier addressed by Samuel Ng and Eric Wen in this journal. It argues that the central question at issue—the location of the structural IV–V motion—is clarified by factors such as rhythm, meter, register, instrumentation, and tonal expectations. Aspects of complexity are also identified, including Brahms’s way of giving divergent structural meanings to an inherently ambiguous passage by setting it in different contexts.
Kontekstuaalisuus analyysikriteerina ; Vers la flamme -analyysista ; Skrjabin ja "peittavyys... more Kontekstuaalisuus analyysikriteerina ; Vers la flamme -analyysista ; Skrjabin ja "peittavyys" ; Mita todella olen sanonut ; Pieni historiallinen ekskursio ; Joitakin erityiskysymyksia.
Musurgia, 2008
La coordination d’elements tonals, modals et « modernistes » dans Il tempo largo de la Quatrieme ... more La coordination d’elements tonals, modals et « modernistes » dans Il tempo largo de la Quatrieme symphonie de Sibelius : un point de vue schenkerienCette etude soutient que la progression d’ensemble d’Il tempo largo comprend un arriere-plan tonal archetypal, la structure fondamentale depuis en do diese mineur, tandis que des caracteres modaux et « modernistes » emergent localement de cet arriere-plan. Au debut, le « modernisme » est le resultat de transformations chromatiques complexes d’un modele tonal, une cadence auxiliaire sur la majeur. Les episodes modaux comportent la suppression de tensions tonales, d’abord temporairement par la reinterpretation ingenieuse du V7 qui supporte le de la ligne fondamentale, puis definitivement pour marquer le conclusif. La signification expressive des elements modaux et « modernistes » est discutee, pour montrer comment cette signification est mise en lumiere, plutot que voilee par l’arriere-plan tonal. Enfin, le premier mouvement de la Sixieme symphonie est discute brievement pour demontrer que la modalite peut etre operationnelle dans la musique de Sibelius meme en l’absence d’un arriere-plan tonal.
Music Theory Spectrum, 2009
Bach’s 15 two-part Inventions are viewed from the Schenkerian perspective, focusing on three main... more Bach’s 15 two-part Inventions are viewed from the Schenkerian perspective, focusing on three main topics: (1) the significance of figuration (design) and register as structural determinants, (2) the enlargement of characteristic surface figures, and (3) the significance of the Ursatz for ac- tual musical events. It is argued that these three topics pertain crucially to the musical organization in the Inventions and also offer significant viewpoints for the justification of Schenkerian analysis in Bach research.
Music Theory Spectrum, 1999
The study discusses whether prolongational organization occurs in Schoenberg's op. 19/2. The four... more The study discusses whether prolongational organization occurs in Schoenberg's op. 19/2. The four conditions of prolongation postulated by Joseph Straus are adopted as the basis of the discussion, but the method of identifying harmonies with pitch-class sets is rejected. This is justified partly on perceptual grounds. Using a conception of intervals and harmonies with restricted octave equivalence, an analysis is presented showing a structure in which the four conditions are fulfilled to a significant degree. Additional examples showing comparable organization in Schoenberg's op. 11 are presented.
Journal of Music Theory, 2002
Music Theory Spectrum, 1999
Journal of Music Theory, 2002
Music Theory Spectrum, 2009
Music Theory Online, 2008
This commentary discusses the Schenkerian interpretation of the opening of Brahms’s Piano Quartet... more This commentary discusses the Schenkerian interpretation of the opening of Brahms’s Piano Quartet No. 3, earlier addressed by Samuel Ng and Eric Wen in this journal. It argues that the central question at issue—the location of the structural IV–V motion—is clarified by factors such as rhythm, meter, register, instrumentation, and tonal expectations. Aspects of complexity are also identified, including Brahms’s way of giving divergent structural meanings to an inherently ambiguous passage by setting it in different contexts.
Kontekstuaalisuus analyysikriteerina ; Vers la flamme -analyysista ; Skrjabin ja "peittavyys... more Kontekstuaalisuus analyysikriteerina ; Vers la flamme -analyysista ; Skrjabin ja "peittavyys" ; Mita todella olen sanonut ; Pieni historiallinen ekskursio ; Joitakin erityiskysymyksia.
Musurgia, 2008
La coordination d’elements tonals, modals et « modernistes » dans Il tempo largo de la Quatrieme ... more La coordination d’elements tonals, modals et « modernistes » dans Il tempo largo de la Quatrieme symphonie de Sibelius : un point de vue schenkerienCette etude soutient que la progression d’ensemble d’Il tempo largo comprend un arriere-plan tonal archetypal, la structure fondamentale depuis en do diese mineur, tandis que des caracteres modaux et « modernistes » emergent localement de cet arriere-plan. Au debut, le « modernisme » est le resultat de transformations chromatiques complexes d’un modele tonal, une cadence auxiliaire sur la majeur. Les episodes modaux comportent la suppression de tensions tonales, d’abord temporairement par la reinterpretation ingenieuse du V7 qui supporte le de la ligne fondamentale, puis definitivement pour marquer le conclusif. La signification expressive des elements modaux et « modernistes » est discutee, pour montrer comment cette signification est mise en lumiere, plutot que voilee par l’arriere-plan tonal. Enfin, le premier mouvement de la Sixieme symphonie est discute brievement pour demontrer que la modalite peut etre operationnelle dans la musique de Sibelius meme en l’absence d’un arriere-plan tonal.
Music Theory Spectrum, 2009
Bach’s 15 two-part Inventions are viewed from the Schenkerian perspective, focusing on three main... more Bach’s 15 two-part Inventions are viewed from the Schenkerian perspective, focusing on three main topics: (1) the significance of figuration (design) and register as structural determinants, (2) the enlargement of characteristic surface figures, and (3) the significance of the Ursatz for ac- tual musical events. It is argued that these three topics pertain crucially to the musical organization in the Inventions and also offer significant viewpoints for the justification of Schenkerian analysis in Bach research.
Music Theory Spectrum, 1999
The study discusses whether prolongational organization occurs in Schoenberg's op. 19/2. The four... more The study discusses whether prolongational organization occurs in Schoenberg's op. 19/2. The four conditions of prolongation postulated by Joseph Straus are adopted as the basis of the discussion, but the method of identifying harmonies with pitch-class sets is rejected. This is justified partly on perceptual grounds. Using a conception of intervals and harmonies with restricted octave equivalence, an analysis is presented showing a structure in which the four conditions are fulfilled to a significant degree. Additional examples showing comparable organization in Schoenberg's op. 11 are presented.
Journal of Music Theory, 2002
Music Theory Spectrum, 1999
Journal of Music Theory, 2002
Music Theory Spectrum, 2009