![]() This was how Nikolai Medtner (1880-1951) began his book, The Muse and the Fashion. I want to speak of music….as a country, our native country which determines our musicians’ nationality, our musicality, a country in relation to which all our “ideologies”, schools, individualities, are merely sides. The greater pedagogical implications on a larger scale involving courses and curricula are also covered, informed by my experience both as a teacher of today’s standard system and from teaching Functional Analysis in the classroom. The elaboration of each detail of my Functional Analysis system shows how each part of Functional Analysis has been designed to help make harmonic analysis quicker, easier, more intuitive, and more personalized. However, the current methods for instructing in function still leave students confused or baffled, as they struggle to match functional concepts to labels that do not exemplify their analysis goals and methods that insist on starting from tiny detail instead of coming from a more complete musical perspective. By surveying the history of functional thinking in music theory, we find that desire to analyze for function is not a new idea, and has been a goal of many theorists and harmony teachers for centuries. Example syllabi, assignments, classroom demonstrations, and long projects are also included, and each aspect of the labeling is carefully discussed as it is presented. The main goal is to update a system of labeling to be as pedagogically friendly as possible, in order to assist students and teachers of harmony to more easily and enjoyably learn, teach, and engage with common-practice tonal harmonic practice. ![]() This dissertation follows the history of functional ideas and their pedagogy, illuminates with many examples the implementation of my updated system of Functional Analysis, and discusses the pedagogical implications that this updated system implies. As a conclusion, the study includes both a more analytical, scholarly viewpoint and an introspective, performance-related viewpoint making the study a mixed method research. By capturing the ways in which performers themselves discuss the pieces fresh and new ideas are brought to the analysis and performance studies that traditionally have been dominated by the analysis-to-performance discussion, not the other way round. The practicing process of the piano trio ensemble (with myself at the piano) is documented in an informal rehearsal diary. In addition, these analytical insights are related to the issues of musical ‘shaping’ in performance, and the study examines both how the analytical findings might be reflected in performers’ shaping and, vice versa, how the analytical interpretation might be influenced by the experience gained while rehearsing the works for performance. The aim is to consider and explore musical motion from various analytical perspectives – such as formal, structural, metrical, and a more general dramatic aspect – and see how they interact with each other. This study will examine the opening sonata-form movements of the piano trios by Felix Mendelssohn (1809–1847) and Robert Schumann (1810–1856) concentrating on the interaction between analysis and performance. As for m.19, I think it should be linked with m.17-m.18, and my personal tendency is the 3 measures m.17-m.19 as a transition to back to the first theme. But it is not symmetrical, m.17-m.18 varied repetition of m.15-m.16, which may be understood as two measures extension, like the echo. The left measures could be the next phrase, which ends on half cadence on the A♭ major chord of m.19. From structure to see, m.9-m.12 is a phrase, which ends on plagal cadence on the downbeat of m.13. I think from m.9-m.19 are tricky to separate the phrases. Then the music goes to another theme soon. The end of the ornament note is G♭, which is appoggiatura of A♭ on the second beat of m.5. And the first phrase sounds harmonically open, Chopin used 7 ornament notes to embellish E♭ note, so F and D♭ are arpeggiation of E♭. From the beginning, the first note is F, which does not start from the tonic or dominant, but the mediant. So strictly it still serves a dominant function. But for the sense of hearing, the closure is not strong, and actually, it is a cadential 64 chord, which the bass note is still on A♭. The first period m.1-m.8(4+4) is a parallel interrupted period, which should serve a closure function. Section A: m.1-m.27(Theme I m.1-m.8/m.20-m.27, Theme II m.9-m.19) For Section A, D♭ Major key, the structure of the period is obvious. This piece is a Ternary Form which consists of ABA'. The main key areas are D♭ Major and C♯ Minor. Beginning: The piece that I selected is Chopin Prelude Op.28 No.15.
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