Review

Reviewed Work(s): Theory of Suspensions: A Study of Metrical and Pitch Relations in

Tonal Music by Arthur J. Komar
Review by: C. H.
Source: The Musical Quarterly, Vol. 59, No. 2 (Apr., 1973), pp. 320-322
Published by: Oxford University Press
Stable URL: http://www.jstor.org/stable/741530
Accessed: 09-09-2016 06:06 UTC

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320 The Musical Quarterly

composers (brief sketches), singers (brief sketche

(pertinent information).
Dr. Fenner's book is a valuable one. In addition to directing
attention to Leigh Hunt and the musical and journalistic world in
which he lived, the book is a reminder of an aspect of English cul-
tural history often overlooked: the contribution to the perpetuation
of music and music criticism made by critics whose milieu was not
mainly musical, a formidable lineage dating from Addison to Shaw.
Roy E. AYCOCK

THEORY OF SUSPENSIONS: A STUDY OF METRICAL AND PITCH

RELATIONS IN TONAL MUSIC. By Arthur J. Kom

in Music, No. 5.) Princeton, N. J.: Princeton Universi

Today, almost forty years after his death, H

ideas still serve as a base from which theorists advance their own

arguments. Explications of tonal music, especially those by Amer

authors, increasingly tend to take the concept of hierarchical
ranged structural levels as axiomatic. True, the mode of theor
discourse has greatly altered over the years. The influence of Ide
in Schenker's writings has given way before the impress of L
Positivism. His trust in biological analogy has been replac
mathematic and linguistic models. Yet, despite the changes i
way music theory is set forth, Schenker's analytic principles hav
one form or another, largely carried the day.
Arthur Komar's Theory of Sitspensions manifests both thi
ceptance of Schenkerian concepts and a desire to move beyond
Early in the book (pages 11-35) Komar gives a cogent reformu
to Schenker's notion of levels and develops criteria by which
may differentiate among notes so as to assign them properly to
tive positions iii foregoround, middleoround, and background
having aligned his views with Schenker's on these matters, K
then presents (on pages 49-71) a hierarchical rhythmic theory
shows metrically drived divisions to be present at the fundam
level of a composition (the Ursatz). The conception of meter
factor operative on every level does accord with Schenker's th
in terms of progressively more elaborate layers of activity, b
departs radically from his belief that the archetypical pitch
tures of tonal music are arhythmic.

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 Reviews of Books 321

One may wonder why within a tr

is need to build a system coordina
pitch. Komar's fourth and fifth
decisive answer to this question. He
pension is always metrically accent
nates" (page 122), its nature can be
understanding of the relation of ch
various ways in which suspensions
harmony as a layered structure held
a suspension that on first glance m
existence (the "preparation," "suspe
theory) will appear in a different lig
ration" and "suspension" are in fac
note occupying a place in a more e
middleground.
This example is expressed here in
with what precision Komar shapes
subsectional headings under which
scribed in Chapter 4 ("Composition
phrased thus: "2. Clarification of L
ground emphasis on prior linear c
the first note of a linear pair in al
time-span," such terms as "linear p
been already defined. Indeed Komar
by exact definitions and by sharply
lated categories of musical procedure
A clear chain of reasoning leads
pensions notes that lack preparatio
suppression in a prior time-span").
far he has been brought from his
stitutes a suspension, for now he sees
even from the outset of their first a
in Beethoven's piano sonata Opus 3
in the six-four chord of measure 6 is
G has been sounded in measures 1-5.

Again and again an aptly chosen example nails down a point

issue. The greatest benefits the reader gets from the Theory of
pensions may spring from watching the author at work while
analyzes excerpts or even whole pieces (the first prelude of Ba

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322 The Musical Quarterly

Well-Tempered Clavier, Book I, and the second m

thoven's "Path6tique" Sonata, Opus 13). That all
so quotations of music are drawn from the eighteent
centuries in no way mars the book, and the lack o
spective to which Komar himself alludes (page 14
justified for a study of this sort. Perhaps regrettabl
fined to compositions by Austro-German masters
not surprising sole exception; almost half the illus
from Beethoven's piano sonatas.
So painstaking and insightful a work as the Th
sions cannot fail to capture the reader who grant
is fitting for an investigation of the suspension,
music as though it were pitch deployed in time. O
mention of factors other than pitch and rhythm
and 122) helps to remind the reader that to accept
pitches as equivalent to music itself is to define m
tion. Agreeing to such a definition requires, how
ingly, an abatement of disbelief, for normally we
the totality of the thing heard. From this whole,
of tone, as much the product of intellect as any
stands at a remove. This is a truism worth stating on
awareness of the work to be done in differentiati
systematizing the attributes of music aside from pit
theorists may find themselves turning to aestheti
for contributions as readily as they have called on
physics in the past. But whatever efforts are made a
it will be a long time before theoretical subjects t
are treated with the intellectual clarity and rigo
realms of pitch and rhythm, inform Komar's Theory
C. H.

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