Abstracts

Rúben Carvalho

3. Comment on this “Rameaurtified” Zarlino cadence. Why does Rameau feel the need to fill
in parts? Why did not Zarlino write his piece with more parts and clearer chords originally?
Do we have later examples of composers “filling in” their earlier colleagues?

Complementing Zarlino: Rameau's proposal

As one of the most well-known music theorists of the Renaissance, Zarlino's theories
were well received. However, over time, they came to be contested by younger theorists,
particularly by Rameau.

This study aims to discuss some Zarlino cadences and how they are perceived and
challenged by Rameau. To do so, we will analyse Zarlino's cadence theories, along with some
specific cadences, and give our own input before moving on to Rameau's theory. Afterwards,
the latter will be discussed, and we will see his interpretations of these same cadences.
Through this, the reader can get a broader idea of how music theories can evolve and that all
of them can be challenged by other theorist, due to changes in aesthetic and social ideals. This
will be exemplified with the different interpretations that a 21 st century reader can give,
compared to a 18th century one, for example in the use of perfect cadences and the usage of
figured bass.

5. Compare the use of the perfect cadence in at least three works by different composers (at
least one work should be written before 1700). Comment especially on how the cadence is
used in constructing the piece (its form). How may performers use this information to better
phrase and shape their performances of these works?
The use of the Perfect Cadence in Germany across time: Schütz, Schubert and Strauss
compared

As stated by Kirnberger (1771-1776), the perfect cadence is the strongest cadence,

providing the most pleasant closure, and so, it is the most used ending for pieces in western
music history. By analysing how the V-I cadence was used throughout the centuries, we may
be able to see how it evolved and how it was employed. This study aims to compare and
understand how the perfect cadence was used throughout the ages, specifically by German
composers.

By focusing on Schütz's Ich weiß, daß mein Erlöser lebt, Schubert's "Der Leiermann"
from Winterreise and Strauss's "Ich Wollt' ein Sträusslein Binden" from Sechs Lieder,
respectively from the 17th, 19th and 20th centuries, it might be possible to figure out how and
why the composers applied the perfect cadences the way they did, being it to fulfil the norms
established by their society, as in Schütz’s piece, or to express a certain aesthetic idea, which
is the case of “Der Leiermann”, by Schubert. Even though Strauss’s piece is from a later
century, his usage of the perfect cadence fulfils the established music theory norms and gives
a certain aesthetic view. After the comparison, the reader will be able to better comprehend
how the perfect cadence was and is used and will be able to interpret them in different ways.

8. Compare any two authors on one of the following subjects of music theory:

- Harmony

Please make the (modern) reader aware of diverging opinions, approaches and terminology.
Refer to relevant music examples and demonstrate how the texts you have chosen aid our
understanding of the music.

Harmony in the eyes of Rameau and Schoenberg

Harmony is one of the fundamental aspects of music, being it the simultaneous

sounding of two or more notes. The study of harmony can be interpreted as the study of a
combination of sounds that are pleasant to the ear, as Rameau (1722) says, as well as how
they are merged through their significance. A considerable amount of literature has been
written about this subject, and two very important ones were Rameau's Treatise of Harmony
and Schoenberg's Theory of Harmony. However, if the idea of harmony had stayed the same
through the centuries, why did these authors feel the need to write about it?

To answer this question, this study aims to compare and discuss how these two major
composers and music theorists from different periods, Rameau and Schoenberg, perceived
harmony, more specifically harmonic progressions and modulations. This will be done
through historically contextualizing both authors, so that their motivation can become clear to
the reader. In order to better understand their theories behind harmonic progressions and
modulations, two vocal works will be analysed, one from each composer: Schoenberg’s Opus
50b Psalm 130, "De Profundis" (1950) and Rameau’s RCT. 16 “Lavoravi” (1722).