compositional process in music theory (1713-1850)

The 'Compositional Process' in Music Theory 1713-1850Author(s): Ian BentSource: Music Analysis, Vol. 3, No. 1 (Mar., 1984), pp. 29-55Published by: Blackwell PublishingStable URL: http://www.jstor.org/stable/854036Accessed: 21/06/2010 17:24

Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available athttp://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unlessyou have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and youmay use content in the JSTOR archive only for your personal, non-commercial use.

Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained athttp://www.jstor.org/action/showPublisher?publisherCode=black.

Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printedpage of such transmission.

JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range ofcontent in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new formsof scholarship. For more information about JSTOR, please contact [email protected].

Blackwell Publishing is collaborating with JSTOR to digitize, preserve and extend access to Music Analysis.

http://www.jstor.org

IAN BENT

THE 'COMPOSITIONAL PROCESS' IN MUSIC THEORY 1713-1850

What can have arisen earlier in [the process of composing] a piece of music than simple harmony? And how can I regard the reduction of a piece of music as complete, if I have not gone right back to simple harmony?l

Thus wrote Heinrich Christoph Koch (1749-1816) in 1782, in the Introduction to Volume 1 of his composition manual, Versuch einer Anleitung zur Composi- tion.2 Koch qualifies this remark very carefully at this point. Nonetheless, by the time that he came to write Volume 2, published in 1787, his remark seems to have been thoroughly misunderstood:

At the very beginning ofthe Introduction to Part I, I promised to draw a line of distinction between harmony and melody, and to answer in such a way that people can abide by the verdict the age-old controversy as to whether a piece of music can be reduced ultimately to melody or to harmony. I do not know how some of my readers . . . can have got it into their heads that I intended to give it as my opinion there that it must be harmony which first arises in the formation of a piece of music in the mind of the composer.3

The problem as he explains it is terminological. The word 'harmony' in common parlance is too broad. For the concept of harmonic progressions in three, four or more voices, he prefers Saz or Contrapunct (Vol. 2, p. 50). If 'harmony' has to be used for it, then he distinguishes it as 'accompanying harmony' (begleitende Hannonie). He is at pains to make clear that neither melody nor harmony in this sense is primal to the compositional process:

. . . neither melody nor harmony can constitute the initial substance of a piece of music. Each carries characteristic features of something which must be presupposed to precede both of them . . .4

For this 'something', he says that he would have preferred to use the term

MUSIC ANALYSIS 3: 1, 1984 29

IAN BENT

'elemental substance' (Urstoff); but he felt constrained to use the term 'harmony', and so distinguished it as 'simple harmony' (einfache Harmonie).

For Koch, then, the primal substance out of which the composer's ideas take shape is a kind of tonal 'plasma' an elemental substance, which is marked by the laws of tonality as they derive from the sounding body (in Rameau's terms, the corps sonore; the klingender Korper in his own) with its overtone structure dictating the treatment of perfect and imperfect consonances and dissonances

all of this filtering through to him from Rameau's theories by way of the various writings of Marpurg.

Implicit in this discussion of the compositional process is not only the psychology of the creative act but also its reverse, the analytical, reductive act. He concludes this stage of his discussion by saying:

. . . this issue can be pursued no further from the material point of view. For neither melody nor harmony can constitute the final level of reduction of a piece of music. The two derive precisely from one and the same substance. 5

Thus having pushed the argument as far as he can from the 'material' point of view, he turns to what he calls the 'formal' aspect of the issue that is, the compositional process viewed as the evolution of an unfolding structure in time.

For the phases of this evolution, Koch turns to the well-established eighteenth-century terminological trinity: Anlage Ausfahrung Ausarbeitung. Koch adopted these three terms from the eminent Swiss aesthetician and lexicographer Johant Georg Sulzer ( 172(}79), who used them in Volume 1 of his Allgemeine TheorzederschonenKunste . . . (Leipzig: M. G. Weidmann, 17714, 2/177K9), in 1771, to designate the three phases of artistic creation. Koch's discussion quotes directly from Sulzer at several points; and the later definitions of these terms that Koch supplies in his Musikalisches Lexikon, welches die theoretische und praktische Tonhunst . . . enthalt (Frankfurt am Main: A. Her- mann, 1802) are modelled directly upon the definitions of Sulzer. In the following discussion I will translate these terms so as to leave them a little of their eighteenth-century flavour, rather than attempting to find their most exact counterparts in modern English: Anlage as Groundplan, Ausfahrung as Articula- tion, Ausarbeitung as Elaboration.

In Koch's 'formal' conception of the compositional process, the phases which these three terms represent are successive and contiguous. The composer first constructs his Groundplan; only when that is completely finished may one proceed to the Articulation; and only when that is whole and complete may one proceed to the Elaboration. Any premature advancement to the next phase will have adverse consequences; on this, Koch quotes Sulzer:

A work will have difficulty in achieving more than mediocrity in its completeness, if the Groundplan has not been completed before the Articulation. Incompleteness in the Groundplan robs the composer of the fire and even the heart to carry out the Articulation. Isolated beauties are

30 MUSIC ANALYSIS 3 : 1, 1 984

, C 1 fjw ee s btti lU - Q t U e

> _ . . _ . _ * _

waH-?-j-P I F I 11--t -P-t | t6tilt ie Bolftw rit - bus

- - l _ l l | l l

w . | * }

rE-tr w Ltl3

w | | I t J

I ' ' i ' I I U ' I et&tft, llt ZoWtn * Dun - eD s Itr

rF, t 15 tafrtll w

l l l - l ^ l

) w l s t | w

,,,,,,,,,,,,,,i XXXXXXEXXXi4/,s.t////////Ax1

Ritorn. Solo I Ritorn. INZ-ZZ-I I AT

I Az ___

Z +2 +2 _

_ _ Y.,/////./,'S,/X/S,S,/SS',v,x,,'x,, W/f,/XE,,/XAXEXEEXEXS

so1 19

1_4 o + -4 + -4 + > -6 -6

IAN BENT

Groundplan for the first section of this aria, laying it out on two staves. Koch presents this in the full expectation that his reader will know the finished aria intimately, and will therefore be able by comparison of the Groundplan with what he knows to understand what is involved in the Articulation.

For the modern reader, to whom the aria is not so familiar, Fig. 1 graphs out the comparison. The Groundplan is represented at the top as comprising three main musical ideas (here black, void and shaded respectively), and as containing already its thematic linkages. Beneath that is the entire aria section, comprising an introductory ritornello, the first solo passage, the mid-ritornello, the second solo passage and the closing ritornello, with presence of the thematic ideas shown by shading. In particular, the Groundplan is shown projected on to

Fig. 1

G r o u n d p l a n: _ 1 1-Y//////X/Y////

I v

t

lla ! |

Articz I ation:

l

Solo 2

-I x I __

R it o r n .

I

1E-7-I -ZZ-I s__

AZ I __

I

32 MUSIC ANALYSIS 3: 1, 1984

- =; aXE/XE/XXEEEXES l

l l

THE COMPOSI I IONAL PROCESS IN MUSIC THEORY 1713-1850

the first solo passage. It occurs there with its material in the original order, with the thematic linkages and tonal scheme intact. However, two bars have been interpolated into the second idea, and fourteen bars into the third idea. Koch points to these groups of bars, and makes clear that they belong not to the Groundplan but to the Articulation, as does also all the material in the second solo passage and all three ritornelli.

From this it can be seen what a Groundplan really is a repository of thematic materials in a specific order, complete with linkages, with a tonal scheme, indeed with the style of accompaniment already predicted. It is not really a 'groundplan' at all. To describe it adequately requires twentieth- century English terminology. It is a primary layer: a layer which is subsequen- tly mapped out in the Articulation to fill the total space of the piece, after which the surface details and the smaller-scale linkages are determined in the third phase, the Elaboration. Koch's extrapolation of the compositional process is thus a hierarchical one.

If the terms Groundplan, Articulation and Elaboration are the products of the three phases of evolution of a piece, then there is a parallel set of terms denoting the processes themselves, namely Invention (Erfindung), Articulation and Elaboration (see Fig. 2a). The two schemas have two terms in common. Indeed, examination of Sulzer's and Koch's discussions shows that the two latter terms always designate the process; but that in the absence of corre- sponding terms for the products they may be taken to imply these in a weak sense. Thus the double schema can perhaps be represented more appropri- ately as in Fig. 2b.

Fig. 2a Fig. 2b

PROCESS PRODUCT PROCESS PRODUCT

Er f i n d u n g E r f i n d u n g

Anlage Anlage

Ausf u hrung Ausf uhrung

Ausf uhrung ( Ausf uhrung )

Au sarbe itung Ausarbeitung

Ausarbeitung ( Ausarbe i tung )

Two other terms need to be taken into account. At the very beginning of his discussion of the formal aspect of the compositonal process, Koch says:


IAN BENT

Generally, when one discourses upon the manner of formation of the products of the fine arts, one speaks of Invention, of a Draft, of a Groundplan and Disposition, and likewise of Articulation, Elaboration, and so forth.8

Disposition (Anordnung) fits into the scheme easily enough. In his discussion of Invention, Koch makes clear that to all but the loftiest composers, who can invent a Groundplan straight into final form, this process is itself divided into two stages: first, the invention of the units themselves, to which the tellll Invention applies in its strong sense; second, their disposition within the Groundplan and the invention of the linkages, to which the term Disposition applies.

The term Draft (Enewurf) presents a more complex situation. In his article 'Anlage', Sulzer never once uses this term; and Koch quotes virtually every word of Sulzer's article in definition of Anlage. However, Sulzer provides a quite separate article, 'Entwurfr, in which the term Anlage is similarly never used. The two concepts are clearly coincident within the compositional process. Koch draws material from both of Sulzer's articles, fashioning a relationship between them. Once the composer has entered into the full flood of imaginaiion and has invented the main musical ideas of the composition, and these ideas have revealed themselves in their true relaiionships, he says, not a moment should be lost in getting this unified musical image down on paper:

This Groundplan, now made visible, or set down in notation, is called the Draft of the piece. It is necessary in the first place, as has already been said, so that nothing of the unity which was constructed under inspiration should be lost, especially as one begins to think over how it can be articulated to fullest advantage; but also in the second place, so that one can durlng the Articulation see the main ideas at a glance in their closest proximity, and thereby avoid being led by one's imagination into remotely-related subsidiary ideas.

After completion of the Groundplan and of the Draft of this, the next stage ln the evolution of pieces is their Articulation. . . .9

From this it is plain that Invention is seen as a mental process, and that its product, the Groundplan, is a mental image. Thus the Draft performs two functions: it is the visible age of the Groundplan on paper; and it is the starting-point and aide-memoire of the Articulation. The schema given in Fig. 2b can now be revised, omitting the weak terms, as shown in Fig. 3.

Afterhis extended discussion of Invention (Vol. 2, pp. 53-97) Koch reviews in turn the processes of Articulaton (pp. 97-124) and Elaboration (pp. 12F7). The business of Articulation is to take the main musical ideas enshrined in the Draft, and render them in a variety of guises and fragmented forms, and to distribute these so as to make up the principal periods of the piece (p. 97); and to interpolate subsidiary ideas as links between the principal periods (pp. 1062). These together give the piece its full extent. Over-riding


THE COMPOSITIONAL PROCESS IN MUSIC THEORY 171>1850

Fig. 3 PROCESS PRODUCT

[Erfindung l Erfindung i, Q ,)

_^ tordnung J

A n I a g e

Entwurf

Ausfu hrung

Ausarbeitung

considerations are: (1) che intended prevailing emotional states ofthe piece; (2) the modulatory scheme; (3) the form. The deployment of main ideas, and of their constituent motifs, must work to illuminate the emotional states. There must be adequate diversity of material, butkinship of ideas: better to have very few ideas, to allow their motifs to be interrelated, better to let the subsidiary ideas be in close kinship to the main ideas (p. 132); in this way, the ideas of the Groundplan will be viewed and reviewed from constantly different angles (pp. 100 and 133). In a delightful illustration (pp. 10916), Koch confronts the court musician's typical problem of having to set an ode for the birthday of a hereditary princess on the very day when the hereditary prince has fallen gravely ill. Using musical examples, he discusses the handling of modulatory schemes to convey both rejoicing and invocation.

The end-product of this process of Ariiculation is a fully set-out melody, spanning the entire extent of the piece, together with a complete bass part and indications of particularly crucial harmonic progressions, possibly also with some drafting of the inner voices) all committed to paper or put into score (p. 124). At this stage of composition, the Elaboration takes over. Its task is to work out the remaining inner voices, to settle the unspecified harmoIiic progressions in accordance with the bass and melody, and to ensure the faithful portrayal of the pieces emotional states-for the details of the accompanying parts are vital factors in the ultimate emotional effect of the work. The degree of detail to which the Elaboration need go depends on the conventions of the genre to which the piece belongs, on the acoustical condiiions envisaged for performance, and on the size of the perforniing forces involved.

What of the composer's state of niind during these three processes? On this, . . Koc n 1S qulte specific. He speaks frequently of the 'special mental state which


IAN BENT

the composer must seek to attain when inventing a piece' (e.g. Vol. 2, p. 70). By this he means 'inspiration' (Begeisterung) in the Sulzerian sense; that is, a special psychic intensity in which images arise with great ease and ideas flow in profusion, the result of sustained contemplation of an object at the end of which things appear in the mind with an unusual clarity and brilliance. Related to this is the concept of 'genius' (Genius). The genius is one who combines great imaginative powers (Einbildungstrafte) with a peculiar sensitivity to certain kinds of images. A sensitivity to musical images, when combined with a latent inner imaginative power, promotes a state of mental lucidity which makes the generation of musical ideas effort- less. Such genius, it should be said, still guarantees nothing more than the work of a 'talented technician'; and there is a higher order of genius about which Sulzer talks: a genius who possesses also a great mind, a great intellect, and in whose mind the 'clear full light of day shines . . . and illuminates every object as a brilliantly lit close-up image.... this light illuminates the entire soul'.l

Koch uses these Sulzerian terms in describing the composer in the phase of Invention: thus 'the composer working in the fire of his imaginative powers' (Vol. 2, p. 54), 'these different levels of skill in thinking of melody harmonically can combine in the composer's mind, and his genius, or the feeling which he is experiencing, causes him in the fire of his imaginative powers to seize now one type, now another, without his being aware of which type is in his mind' (p. 91).

However, the moment Invention finishes the time for inspiration is over:

Just as the Groundplan was chiefly the preserve of the inspired genius, so now the Articulation is more the object of taste, though at the same time the higher mental. faculties, namely intellect and power of judgment, must manifest their efficacy. 1 l

From this point onwards, the composer must keep a cool head. There is a clear opposition, in Sulzerian terms, between intellect and the operation of the mind under inspiraiion: 'in such a state [of inspiration, the mind] is capable neither of precise calculation nor of correct judgment, but its inclinations express themselves with greater freedom and vigour and all the springs of its powers of desire are allowed proportionately freer play'.l2 Hence, these supercharged feelings, this capacity for heightened experience, must be consciously switched off after Invention, so that the head can rule the heart throughout the remainder of the compositional process. From now on, it must be taste (Geschmack) and artistic sensibility (Kunstgefahl) which determine whether the right emotion has been struck, and not merely that, but whether precisely the right shading of that emotion has been found, and to just the appropriate degree of intensity; and the intellect, the judgment, must determine whether everything in the surface detail meets the require- ments of the piece.


THE COMPOSITIONAL PROCESS IN MUSIC THEORY 1713-1850

II

Koch's Versuch is nowadays best known for its treatise on melodic construction, which occupies the latter half of the second volume and the whole of the third, and has recently been published in English translation. 13 However, his study of the compositional process, comprising the first half of the second volume, 120 pages in all, and entitled Von derAbsicht, von derinnernBeschaffen- heit und vorzaglich von der Entstehungsart der Tonstucke, is well worth study.

Koch was an instrumentalist in the ducal orchestra at Rudolstadt, some fifteen miles south of Weimar. Fifty years later, Johann Christian Lobe ( 1797-1 88 1) was an instrumentalist in the ducal orchestra at Weimar. Both men had studied initially in Weimar, Koch as a violinist, Lobe as a flautist and viola player. Both were composers in a small way, and both are remembered now only for their writings on music. (Lest the latter point should be underestimated, note that Lobe's Katechismus der Musik, first published in 1851, has been more or less continuously in print since that time, and still appears in German Books in Prznt 1981182, in the eighth edition of its fourth series, dated 1973.)

Lobe issued the first volume of his major work, the Lehrbuch der musikalischen Komposition, in 1850.14 In view ofthe similarity of upbringing and environment of Lobe and Koch, it is perhaps not surprising that Lobe, although writing nearly eighty years later, and in the middle of the nineteenth century, was greatly interested in the compositional process, and assigned to it a terminological schema ofthree phases. Nor is it surprising that two of Koch's three terms for the processes are adopted within Lobe's schema, as Fig. 4 shows.

Fig. 4 KOCH LOBE

Erfindung 1 Erfindung

2 Umwandling

Ausfuhrung \

\ 3 Skizzirung

\ Ausarbeitung Ausfu hru ng


IAN BENT

However, Lobe's schema really has four phases, though he refrains from numbering the fourth. Lobe's third term is particularly striking: Sketching-out (Skizzirung). This is a word with associations quite different from those of the terms encountered so far in this study. The word Skizze was taken over from the Italian schizzo. From as early as about 1630, the Italian term was occasionally adopted unchanged in writing about the visual arts; and was defined in L. Hulsius' Dictionarzum teutsch-franzosisch-italienisch in 1616 as 'Entwerffung, Abrisz, oder Umbzug desz Mahlers, so noch nicht recht auszgemacht'. The German cognate, as Skize, appears in the 1790s; and the verb skizzieren in the first decade of the nineteenth century. l5 Thus the German term has no part in German Baroque musical theory.

For most musicians, the term is probably suggestive of the working method of Beethoven. And indeed, the first volume of Lobe's Lehrbuch centres around the music of Beethoven. It contains several substantial analyses of Beethoven movements, and its discussions of musical form reflect the state of evolution of those forms in the early- and middle-period works of Beethoven. Even more important is the fact that the procedures which Lobe teaches are modelled directly on what Lobe knew of Beethoven's compositional processes.

But how did Lobe know as much as he did about Beethoven's methods, writing as he was fifteen years before the first of Nottebohm's famous publications? That Beethoven used sketching processes of various sorts was of course well-known during his lifetime. These materials were not themselves well-understood, however, for Beethoven was obsessively protective of them in a way that he was not of his autograph score materials so obsessive as to point to some deep psychological necessity (as Kerman and others have suggested). Most of his sketch-materials were eventually sold at the notorious auction of his belongings on 5 November 1827; and thereafter many sketchbooks were dismembered and either given away as memorabilia or sold as autographs, thereby circulating fragments of them widely. But more to the point, Anton Schindler acquired for himself a sizeable collection of large-format and pocket- size sketchbooks and loose leaves, allegedly at the gift of the composer, a collection which he eventually sold to the Konigliche Bibliothek, Berlin, in 1846. Schindler reproduced four pages of musical sketches lithographically among the Beilagen to the first edition of his biography of Beethoven, published in 1840.16 Even before that, a sketch of the songAdelaide, Op. 48 (composed in 179F5 and published in 1797) had been reproduced by Ignaz Ritter von Seyfried in the first edition of his volume of Beethoven's studies in figured bass, counterpoint and composition. This publication dates from 1832, and Sey- fried's entitling of the Beilag is in itself of interest: 'Sketch (Skizze) of Adelaide. This rough copy (Brouillon) is most probably the very first draft (Entwurf)'. 17 Schindler also allowed Hermann Hirschbach to publish in the first issue of his new journal, Musikalisch-krztisches Repertorzum, in 1844, transcriptions of the supposed sketches for a Tenth Symphony and an Overture on B.A.C.H., which were in Beethoven's mind probably late in 1825, and seven sketches allegedly from the finale of the C# minor Quartet, Op. 131.18 Schindler, long after the


THE COMPOSITIONAL PROCESS IN MUSIC THEORY 171F1850

successful sale of his sketch-materials, added these latter to the third edition of his biography (1860). 19

Returning now to 1850, and Lobe's Lehrbuch der musikalischen Komposition, as early as p. 10 he presents motifs extracted from Beethoven's Septet Op. 20; and on pp. 11-12 motifs from the opening movement of Op. 18 No. 2 and other works. Near the end of the first volume, Lobe makes the following remark:

At the beginning of this work I have already given a few examples, drawn from Beethoven's sketchbooks, of Beethoven's groping for isolated ideas, modifying them and improving them. Here are some further examples of first drafts and sketches from his pen, which show that for the most part he threw up very disjointed, incomplete ideas, doing so for entirely different works at the same time works which he articulated only much later. [He then presents the very sketches for the Tenth Symphony and Overture on B.A.C.H. exactly as in Musikalisch-kritisches Repertorium in 1844, and given again in A. B. Marx's study of Beethoven in 1859.]2

Lobe's allusion to the beginning of his volume does not refer to the passages from the Septet and other works just meniioned, but to pp. 23f, where he quotes Schindler's Nos 2, 4 and 7 of supposed sketches for Op. 131 again quoted exactly from Musikalisch-krztisches Repertorzum, even retaining the numbering, though each sketch is abbreviated.

Fig. 5 1 PROZ E D U R [ Grundskizze

Erfindung der Hauptgedanken > { 1 Skizze t 1 Entwurf

2 PR OZ E DU R

themetische Umwand lung a Fortfuhrung 5 > 2 Skizze thema tische Arbeit J

3 PROZEDUR [ 3 Skizze

vollstandige Skizzirung > { vollstendige t Hauptmelodiefeden

[4 PROZ E DU R ] Ausfuhrung in der Partitur > Partitur

MUSIC ANALYSIS 3 : 1, 1 984 39

IAN BENT

But apart from these Op. 131 sketches, Lobe's first volume is studded with fragmentary materials taken from Beethoven's works (particularly the string quartets), fragments called 'figure' (Figur), 'motifn (Motiv), 'motivic element' (Motisglied) or 'model' (ModelE). These fragments are not themselves drawn from the sketchbooks. Rather, they are the result of analysis. Lobe has reconstructed the sketching stages of several of Beethoven's works as he envisaged them. Hence, what we have here is a manual of composition which is modelled directly on Lobe's perception of Beethoven's compositional process.

Lobe's schema of four phases, termed 'stages of creation' (Schaffensmomente) is, as has already been remarked, a three-phase schema with a fourth phase appended (Fig. 5). The first phase, or Procedure (Prozedur), comprises the Invention of the Main Ideas, and results in all of the major thematic components. A typical result, called Basic Sketch, or First Sketch, or First Draft, is that for the first movement of Op. 18 No. 2 (Ex. 2).21 Note, Ex. 2

'rhemagruppe. sc9to.

720. 4 r 2 2 ! F .+;;tt >_ f g3t 4_t ]

ti# 3 #bi 2 *) ,; I J 11 -- - 6'ebe lXa ngsgru ppe .

75!1.#" J J4]->-t:$l'*-4<

Schlussgruppe . . Zur ersin Periode darln.

721|. +gre X OK[ c. Zur dritba Periode.

i*. Zur zweitell Periode. *_ . . ...

ILF4Dt oder anstatt c. die darunter liegende Figur, welche durch die ganse Periode geht:

724. *-b^-Xt

significantly, that there are no links between the elements, as there were in Koch's Groundplan.

The second phase comprises Thematic Transformation, or Continuation, or Thematic Working of that material. Invention is now over, and a pro- liferation of fragmentary variants of the invented material now ensues (such

40 MUSIC ANALYSIS 3:1, 1984


as those shown in Ex. 3).22 These variants will then form the starting points, or Models, for all the intervening and following passages of the work to be constructed for so far, no actual construction has taken place.

Ex. 3 Xllcgro. x. s. I_R_j g;

784. 1& P 1l *-;JS;0 @

24?_ t-- 4 --1l-3- 0

;i jJiS-'; J 81 : tJ l l : i_J_"Xt

| *$ 1- tt,9 - h

The third phrase is precisely that construction. It is the mapping of the total structure from the resources created thus far. It corresponds to phase 2 of Koch's schema. When this procedure is complete, every bar of the piece will have been mapped into place, with all the relationships, thematic and tonal, worked out, as in Ex. 4 (below, pp. 42-6).23

At this point, the confluence of synthesis and analysis is reached. This example, earlier in the volume, served as Lobe's analysis of the movement. Now it is recalled as the Third Sketch, or Finished Sketch, of the compositional process. It constitutes the Principal Melodic Strand. It is not the first linear analysis to be produced by a theorist, but it is the first one in which the continuous melodic line is derived from all the voices of the texture equally and consistently, and derived in accordance with established rules.

The difference in meaning of the word Ausfahrung between Koch's usage and Lobe's now becomes clear. In Koch it was a 'leading outwards' in time: the expanding of a brief stock of coherent material into a fully- articulated structure. In Lobe it is a 'leading outwards' in space: the expansion of a fully- defined structure, expressed initially as a single horizontal line, upwards and downwards into four (or more) simultaneous lines, laid out physically in score- form: the Ausfahrung in der Partitur.

Lobe's 'Principal Melodic Strand' is the counterpart of what Joshua Rifkin has called th.e 'continuity draft' in Beethoven's sketch-materials. Indeed, in Lobe's second and third sketches can be seen precisely what Lewis Lockwood categorizes, following Nottebohm, as:

1) variant versions of discrete motifs, phrases, or themes, consecutively or nonconsecutively ordered; 2) continuity drafts for entire sections, movements, or even entire compositions....24


t-q0

1 49 - c-

-

I z191 J rl 9. Ueberggngwruppe.

11-G. J ! I | 1 *+ _n oF _

nLs4 _e

t. ' s

d. crenc. t1 j.Z= J. Gesanggruppe. r

-

igL K

t*tlr p A , m4:> 7-D.

4. ScblusSmppo. mr

=2+,., e. h. 40-h. c.

!-w D. h. .

Ex. 4 ju@ro.

4. Ahemagruppe. ^ j__ I

712|. G2F vv _ . . .

_ , . .

s-a. '

42

IAN BENT

Quaritt 11 von Be e t b o se n.

MUSIC ANALYSIS 3: 1, 1984

-

-of-S 4 D. mit kleinen eiweschalteten Ausweichungen.

;E; erev

tt,t ta t*__= f t-S-r

7 X S < l J-* z F

Fp ;; >1-f; t-iJ rtok;1 '-# 4-d. 4 5-d .

g -B@* i

v #__l

s I

i t_ ^ | _ gL1 1F g _ + t LL _ --

4-Et.



I r

7-Gt.

1. ' ; _

Jt. Z$. B. 4 0-B.

t:RfF, _

*f 1$4 1W f ,M1;oNw W q

44

IAN BENT


ER-:r 9-G. t.

. .

I 1wE

7. Uobergenbgruppo. _

_

bt!1; H

! | | | tw

e. G. D. 8-G.

t = 1' D. e. D.

8. G"ang-

>*rW 8-G. Brppe.

, X 1 , yrx

4t 1 r r I++>-:l k tl

9. SchlrupPe.

e 4-o g % %

Fz 1t7=t t-m G. e. a.

h



IAN BENT

-

40-G. mit ileinen eingeschalteten Ausseichungen.

S;4go g P$s-G | >

40. Anhang. _ _

-Le:w 4 I I ' g EndeRepetition. 8-G. C.

-

i--TIr,2 . a. 8-G.

Z t=_ tt '1i3 l r t > r l|



III

As I noted earlier, Koch derived his terminology for the phases of the compositional process from those of Sulzer for the creative process in general. These terms were not coined by Sulzer, although Sulzer attached particular values to them. They can all be traced back into Baroque art history; and some of them surface in works of music theory. To take but one example of many, Walther's Lexicon (1732) gives as the definition of the Latin term Elaboratio: 'die Ausarbeitung einer Composition'.25 The very fact that Walther offers no entry under Ausarbeitung itself suggests that the term was commonly understood.

Each of the three principal processes had, in Baroque theory, its Latin designation as well as its vernacular. Thus Johann Mattheson (1681-1764), in his first book on music, Das neu-eroffnete Orchestre (1713), presents all six terms when (in a very briefdiscussion in Part 2, Ch. 1, 'Concerning the General Rules of Consonance and Dissonance') he remarks that a composition comprises three things: 'Inventio, (Die Erfindung) Elaboratio, (Die Ausarbeitung) Excecutio, (die Ausfuhrung oder Auffuhrung) . . .X.26 Indeed, he presents seven terms. By ignoring the significance of the seventh term, it is possible to set up a parallelism with Koch's schema (Fig. 6), a parallelism in which the second and third terms are transposed:

Fig. 6 SULZER / KOCH 1 77 1/ 1 787

M AT T H E SO N

1 7 1 3 1 7 3 9

Erfindung-- vErfindung Erfindung

(Inventio) (Inventio) F | Riss7 Entwurf

Ei nrichtung >Ausfiihrung ( D i s p os i t io ) /

I //

Ausarbeitung___;. Ausarbeitun9 Ausarbeitung

(Elaboratio) ( Elaboretio ) / I /

Schmuckung / (Decora t i o ) //

I //

Anlege

E nt w u r f

However, this would be erroneous, as will be apparent. Twenty-six years later, in Der vollkommene Capellmeister, Mattheson offered a more extended set of terms: Inventio (Erfindung) Disposiiio (Einrzchtung) Elaboratio (Ausarbeit-


f Ausfuhrung u-tAusfuhrung) X t Auffuhrung } i Auffuhrung; t (Excecutio) J t(Excecutio) J

IAN BENT

ung) - Decoratio (Schmuckung or Zierde) Executio (Ausfahrung or Auffahrung).27 Again there are dangers in seeing the parallelism with Koch's schema. It is Mattheson's Einnichtung which accomplishes what Koch's Ausfahrung achieves: the mapping of the invented material out into temporal form:

it is a tidy ordering of the melody, or of an entire melodic composition, into all its sections and detailed features, almost in the manner in which one arranges and marks out a building, makes a design (Entwurtf) or a plan (Riss), in order to show where a hall should be located, where a room, where an ante-room, and so forth.28

And just as Mattheson draws upon the loci topici, which in the theory of rhetoric form the sources of invention, as 'ancillary aids' to musical invention (Ch. 4, 20), so too he draws upon the structural categories of rhetorical theory to provide the conceptual framework for this temporal mapping: Exordium (Eingang)-Narratio (Bericht) Propositio (Antrag) Confirmatio (Bekraff- tigung) Confutatio (Wiederlegung) Peroratio (Schluss) (Ch. 14, 4). Moreover, since Mattheson and Koch both take the construction of an aria as the basis of their discussions, it is possible to see that Mattheson's Einrzchtung maps the entire aria from a single process of Invention, whereas Koch's Ausfahrung maps only one section of an aria, and the aria as a whole requires two separate processes of Invention (related in a way to which Koch devotes some very interesting discussion: Vol. 2, pp. 6F7). Mattheson's Ausarbeitung then fills out local detail; and then his Schmuckung draws on Baroque figures and ornaments, bringing the process of composition up to the threshhold of performance.

The apparent transposition of the terms Ausfahrung and Ausarbeitung between the schemas of Mattheson and Koch can now be understood. The verb ausfahren in the eighteenth century literally meant 'to lead out', 'to export', whether of axiimals to the fields, or of goods in commerce. However, in the fine arts it had two special meanings: (1) to execute a plan, or bring an idea to fruition; (2) to perform, of a piece of music (in which sense it was synonymous with auffahren). Mattheson uses Ausfahrung to designate performance, whereas Koch uses it to designate execution of a plan, leaving Auffahrung still available to designate performance. Thus, as between the schemas, Ausarbeitung occupies the same position, whereas Ausfahrung rotates from a position beneath it in Mattheson to a position above it in Koch. The full correspondence of Mattheson's, Sulzer's and Koch's schemas is shown in Fig. 7.

The words Entwurtf and Riss appear only by analogy with architecture. However, their verbs have status within the compositional process, and clearly provide a precedent for Sulzer's use of the term Entwurf:

Thus whoever, regardless of his skill in composing, wishes to employ the above-mentioned method in an assuredly unconstrained manner



ought to draft out (entwertfe) his whole scheme on a sheet of paper, to rough it out (reisse . . . ab) in general outline, and dispose it in an orderly fashion, before ever he proceeds to the Elaboration.29

Fig. 7

M ATT H E SON ( 1713 ) KOC H

Erfindung - + Erfindung

(Inventio)

Ausarbeitung X >r Ausfuhrung

(Elaboratio ) /

\ / '

\

Ausfuhrung w < Ausarbeitung (Excecutio )

Sulzer's advice against proceeding to the Articulation before full completion of the Groundplan is mirrored here and in several other passages in Mattheson as between Disposition and Elaboration. Disposition takes time; if it is hurried then the Elaboration will be the more troublesome (Ch. 14, %533, 37). Sulzer's and Koch's descriptions of the artist's state of mind are also mirrored by Mattheson:

Invention requires fire and spirit; Disposition requires order, measure; Elaboration requires cold blood and circumspection.30

Of particular interest is Mattheson's description of the product of Invention as a stock of musical ideas (whether in the composer's head or jotted down on paper),

. . . in the same way that we lay up a stock of words and expressions in language, . . . so that thereafter by means of these we can bring our thoughts, whether in speech or in writing, most readily to utterance without having always to consult a dictionary for what we need.

To be sure, anyone who finds it convenient, or who is driven to it by necessity, can always prepare for himself a written collection in which everything that pleases him or that occurs to him from time to time by way of fine progressions or turns of phrase may be found organized under certain headings and labels, from which he can as need arises derive guidance and comfort. However, it would probably be a lame and patchy creation which


IAN BENT

would result, if one were to try to cobble a concoction together in such a deliberate and laborious way out of such rags, even if they were of silver and gold material.3l

This cautious disapproval towards the writing down and storing of musical ideas for future use which, Mattheson says, at its worst in some pedagogical circles takes the form of an 'inventions box' (Erfindungs-Kasten)

can be seen gradually to turn to approval over the following century as the concept of inspiration changes. It must be no coincidence that two writers who contributed to this granting of approval within music theory were both in personal contact with Beethoven. Antoine Reicha, who played alongside Beethoven in the court orchestra at Bonn in the late 1780s, and was reacquainted with him in Vienna, offers a section 'On the Creation of Musical Ideas' in his Traite de haute composition musicale of 18244 in which he recommends writing ideas down, though not for long-term use:

. . . When the faculty of creation is in full spate, ideas abound with unthinkable effortlessness, but not always in convenient order. Under these circumstances it is a good idea (so as not to lose any part of them) to note them down briefly, or just to outline them, on one stave or two, leaving it until later to choose which suits best and to put them into the necessary order. The ideas that occur to one in this way are usually rough diamonds that need to be polished later. When the mind is in this state, an electric current circulates in the veins . . .32

Carl Czerny, who was a pupil of Beethoven, worked for him as a copyist and arranger, and was respected by Beethoven as an interpreter of his works, wrote in his School of Practical Composition in the 1840s (or, if we can accept Newman's proposed dating, the late 1830s):

The young composer ... must also accustom himself lo note down immediately any idea which may strike him at a propitious time, frequently even whilst extemporising; indeed, in such moments, he must actually hunt after good subjects, and at once preserve them in writing: for how many happy ideas have already been lost through neglecting this!

To each idea so noted down, may likewise be remarked, at the same time, for what use it appears most suitable; and if to this be added the degree of movement according to Maelzel's Metronome, we shall remem- ber, even years hence, the expression which we assigned to it at the period of its first invention.

Such an extensive collection of ideas, created during the vigour of youth, is a valuable treasure to the composer in after-life: and from manuscripts left by Beethoven we have observed that many of the most beautiful ideas employed in his later great works, were by him conceived and noted down long before, (perhaps in his youthful days,) and that therefore he was certainly indebted to this method for much of his fertility of invention.33

so MUSIC ANALYSIS 3:1, 1984


IV

The above enquiry has traced the presence of certain musical terms in five theoretical sources ranged over some 140 years. It has been possible to observe how some of these terms retained their place in the scheme of things, how others decayed, and how yet others entered that scheme. What has emerged is informative only up to a point. Thereafter, it iS only suggestive. It does not project before our eyes a historical continuum over those 140 years. It leaves us speculating about the changing conceptualization of the compositional process over that long period.

We can see a three-phase schema, holding good right to the end of the period, although covertly acquiring a fourth phase in Lobe. Two of the terms for these phases, Erfindung and Ausfuhrung, remain constant. The third, Ausarbeitung, loses its place in Lobe (yet Arbeit is used there in the sense of thematic elaboration). Invading this schema is the awakening concept of 'sketching': the notion of collecting fragmentary, germinal materials directly on paper and working them in an impassioned way. The transcendental state of inspiration, viewed by the eighteenth century as if it were some unstable material, some fissionable element, and contained within the Invention so as not to contaminate the later stages of composition and thereby produce an incoherent and ill-proportioned work of art, is in the nineteenth century progressively freed fromSits containment and allowed to spread across the face of the compositional process. Perhaps we can see in this a reflection of the change from the eighteenth-century view of the artist as doer and producer in a world of art regulated by taste, tO the Romantic view of the artist as creator, exalted for his originality. Perhaps we can see, too, the metamorphosis of the concept of genius from that of an inner luminosity to that of a compulsive striving for self-expression. And in Lobe's identification of the starting- matter of composition as cell-like figures we can perhaps see the practical acknowledgment in music theory of the manifestation of organic growth in music.

However, to make these speculations is not only vastly to oversimplify the complex currents of artistic thinking between 1713 and 1850, but also to overlook the conservative elements in Lobe's own treatment of composition (and indeed in those of Reicha and Czerny). A full historical account of the changing conceptllalizaton of the compositonal process will be reached only after examination of many other works of music theory, and works of theory in other arts and in aesthetics; will require studies in the publishirg history and distribution of composition manuals, and in the adoption of instruction books by conservatories and schools in all the major countries of Europe; and will need to be correlated with the surviving sketch and draft materials of many composers. Such a scheme of work will be richly rewarding.


IAN BENT

NOTES 1. H. C. Koch: Versuch einer Anleitung zur Composition (Leipzig and Rudolstadt:

Adam Friedrich Bohme, 1782-93), Vol. 1 (1782), p. 9: Denn was kan in einem Tonstucke eher entstehen als die einfache Harmonie? Und wie kan ich die Auflosung eines Tonstucks fur vollendet halten, wenn ich nicht bis auf die einfache Harmonie zuruck gegangen bin?

2. This paper was first read, in shorter form, at the 49th annual meeting of the American Musicological Society in Louisville, Kentucky, on 29 October 1983.

3. Ibid., Vol. 2 (1787), p. 47: Gleich zu Anfange der Einleitung des ersten Theils versprach ich, zwischen der Harmonie und Melodie eine Linie zu ziehen, und die bekannte Streitfrage, ob die Harmonie oder die Melodie eher sey, ob sich ein Tonstuck in Melodie oder in Harmonie auflosen lasse, so zu beantworten, dass man sich bey der Entscheidung beruhigen konne. Ich weiss nicht wie einige meiner Leser . . . auf den Gedanken haben kommen konnen, als hatte ich dadurch zu erkennen geben wollen, die Harmonie musse bey der Entstehung eines Tonstucks in der Seele des Com- ponisten zuerst entstehen.

4. Ibid., pp. 48f: . . . denn weder die Melodie, noch die Harmonie kann den ersten Stoff eines Tonstucks ausmachen. Beyde tragen charakteristische Kennzeichen dessen, was vor beyde vorausgesetzt werden muss . . .

5. Ibid.,p.50: Die Sache so betrachtet deucht mich, dass die Frage materiel betrachtet, gar nicht mehr statt finden kann; denn weder die Melodie, noch die Harmonie kann den lezten Grad der Auflosung eines Tonstucks ausmachen. Sie entstehen beyde aus einem und eben demselben Stoffe . . .

6. quoted ibid, p. 57, from Sulzer's 'Anlage': Schwerlich wird ein Werk zu einer uber das Mittelmassige steigenden Vollkom- menheit kommen, wenn die Anlage nicht vor der Ausfuhrung vollkommen gewesen. Die Unvollkommenheit der Anlage benimmt dem Kunstler das Feuer und sogar den Muth zur Ausfuhrung. Einzelne Schonheiten sind nicht ver- mogend die Fehler der Anlage zu bedecken. Besser ist es allemal ein Werk von unvollkommener Anlage ganz zu verwerfen, als durch muhsame Ausfuhrung und Ausarbeitung etwas Unvollkommenes zu machen.

7. Der Tod 3fesu (Leipzig: Breitkopf, 1760), Collegium musicum, 2nd series, Vol. 5, ed. H. Serwer (Madison, WI: A. R. Editions,1975); Koch's analysis, Versuch, Vol. 2, pp. 59-64; A. B. Marx: 'Uber die Form der Symphonie-Kantate: aufAnlass von Beethovens neunter Symphonie', Allgemeine musikalischeZeitung [Leipzig], No.49 (1847), col.491: 'Bach's mathaische Passion hat ein Jahrhundert gebraucht, ehe sie Zugang finden konnte, und wird nie die Popularitat der graun'schen erlangen. . .'.

8. Koch: Versuch, Vol. 2, pp. 51f: Man spricht, wenn man von der Entstehungsart der Producte der schonen Kunste uberhaupt redet, von Erfindung, von einem Entwurfe, von Anlage und Anord- nung, desgleichen auch von Ausfuhrung und Ausarbeitung, u.s.w.

9. Ibid., pp. 96f: Diese nun sichtbar dargestellte, oder in Noten gesezte Anlage wird der Entwurf des Tonstucks genennet, und ist deswegen nothig, damit theils, wie schon gesagt,



nichts von dem in der Begeisterung gebildeten Ganzen verlohren gehe, besonders wenn man anfangt zu uberdenken, wie es auf das vortheilhafteste ausgefuhrt werden konne, theils aber auch, damit man bey der Ausfuhrung die Haupttheile in ihrem nachsten Zusarnmenhange mit einem Blicke ubersehen konne, um zu vermeiden, dass man nicht durch die Fantasie auf zu weit entfernte Nebenideen geleitet werde.

Nach Vollendung der Anlage und des Entwurfs derselben folgt bey der Bearbeitung der Tonstucke die Ausfuhrung....

10. Sulzer, articles 'Begeisterung', 'Genie', which are translated almost complete in P. le Huray and J. Day: Music and Aesthetics in the Eighteenth and Early-Nineteenth Centuries(Cambridge:CUP,1981),pp. 127-33.

11. Koch: Versuch, Vol. 2, p. 98: So wie die Anlage hauptsachlich die Sache des begeisterten Genies war, so ist

nun die Ausfuhrung mehr der Gegenstand des Geschmacks, wobey aber auch zugleich die hohern Seelenkrafte, z.B. Verstand und Beurtheilungskraft ihre Wurksamkeit aussern mussen....

12. Sulzer, article 'Begeisterung', trans. le Huray and Day, p. 131. 13. H. C. Koch: Introductory Essay on Composition: The Mechanical Rules of Melody,

Sections 3-4, trans. and ed. Nancy C. Baker (New Haven: Yale University Press, 1984).

14. Von den ersten Elementen der Harmonielehre an bis zur vollstandigen Komposition des Streichquartetts und allerArten von Klavierwerken (Leipzig: Breitkopf und Hartel, l/ 1850, 2/1858, 3/?1866, 4/?, 5, ed. H. Kretzschmar/1884, 6/?1900, Fr. trans. by Gustave Sandre, of 5, Leipzig and Brussels: Breitkopfund Hartel, 1889). The remaining volumes of the first edition were published in 1855, 1860 and 1867.

15. These citations are taken from J. and W. Grimm: Deutsches Worterbuch, Vol. 10, No. 1 (Leipzig: S. Hirzel, 1910), col. 1309.

16. Anton Schindler: Biographie von Ludwig van Beethoven (Munster: Aschendorff, 1840), Beilag 2 (following p. 296, and extending over both sides of two leaves). These are sketches for the Ninth Symphony. The reproductions appear also in Moscheles' translation of the biography, The Life of Beethoven (London: Henry Colburn, 1841), following Vol. 2, p. 356. For the above information on the fate of the sketches, see, among others, J. Kerman: 'Beethoven's Early Sketches', The Musical Quarterly, Vol. 56, No. 4, 1970, pp. 515-38; A. Tyson: 'Sketches and Autographs', The Beethoven Companion, ed. D. Arnold (London: Faber, 1971), pp. 44>58; D. Johnson and A. Tyson: 'Reconstructing Beethoven's Sket- chbooks', 3rournal of the American Musicological Society, Vol. 25, No. 2, 1972, pp. 137-56. In particular, on Schindler, see R. Winter: 'Noch einmal: Wo sind Beethovens Skizzen zur zehnten Symphonie?', Beethoven-3rahrbuch, 2nd series, Vol. 9 (1973/77), pp. 531-52.

17. Ignaz Ritter von Seyfried: Ludwig van Beethoven's Studien im Generalbasse, Contrapuncte und in der Compositions-Lehre (Vienna: Tobias Haslinger, [Foreword dated: 26 March 1832] ), following p. 352. I am indebted to Dr Alan Tyson for drawing my attention to this, and to the minute fragment facsimiled in Tab. 1 of Anton Graffer's Ueber Tonhunst, Sprache, Schnft (Vienna: J. P. Sollinger, 1830), following p. 70.

18. Vol. 1, No. 1, January 1844, pp. 1-5: 'Aus Beethoven's Skizzenbuchern'. A footnote states: 'It is known that Beethoven always carried tiny books with him, in which he noted down ideas as soon as they occured to him'.


IAN BENT

19. (Munster: Aschendorff, 3/1860), Vol. 2, Facs 1 (following p. 374, and extending over both sides of two leaves); A . Schindler: Beethoven as I knew Him, trans. D. W. MacArdle (London: Faber,1966), pp. 265,267,268 and 266 respectively. See also R. Winter: Compositional Origins of Beethoven's Opus 131 (Ann Arbor: UMI Research Press, 1982), pp. 46, 60f, 128, 13841, 145f, 154ff, 166f, 373, n. 13.

20. p. 337: Aus Beethoven's Skizzenbuchern habe ich schon am Anfange dieses Werkes einige Beispiele von Beethoven's Suchen, Aendern, Verbessern seiner einzelnen Gedanken gezeigt. Hier sind noch einige Beispiele erster Entwurfe und Skizzen von ihm, die beweisen, dass er sehr abgerissene, unvollstandige Gedanken meist hingeworfen, zu mehreren ganz verschiedenen Werken zugleich, die er oft erst viel spater weiter ausgefuhrt hat.

A. B. Marx: Lud7AngsanBeethoven: Leben und Schaffen (Berlin: Otto Janke,1859), Vol. 2, pp 289f.

21. Ibid., pp.334f. 22. Ibid., pp. 339f. 23. Ibid., pp. 3 16f. Having appeared there as analysis, it is recalled as Ausfahrung der

Skizze on p. 344. 24. L. Lockwood: 'Problemes de creation musicale au XIXe siecle: 1. On Beethoven's

Sketches and Autographs: Some Problems of Definition and Interpretation', Acta musicologica, Vol. 43, No. l , 1970, pp. 3247, see p. 42; for Rifkin, see ibid., n. 16.

25. J. G. Walther: Musicalisches Lexicon Oder Musicalische Bibliothec . . . (Leipzig: Wolffgang Deer, 1732, reprinted 1953), p. 223.

26. J. Mattheson: Das neu-eroffnete Orchestre, Oder Universelle und grundlicheAnleitung (Hamburg: printed privately, 1713), p. 104.

27. J. Mattheson: Der volfkommene Capellmeister (Hamburg: Herold, 1739, reprinted 1954), Part 2, Chs 4 and 14, especially pp. 121f, 235. For a discussion of how the terms of contemporary rhetorical theory were absorbed into this extended set of terms, see W. Arlt: 'Zur Handhabung der "inveniio" in der deutschen Musiklehre des fruhen achtzehnten Jahrhunderts', in New Mattheson Studies, ed. G. Buelow and H.-J. Marx (Cambridge: CUP, 1984). An English translaiion of Der vollkommene Capellmeister by E. C. Harriss is available (Ann Arbor: UMI Research Press, 1981).

28. Ibid., Ch. 14, 4: . . . so ist sie eine nette Anordnung aller Theile und Umstande in der Melodie, oder in einem gantzen melodischen Wercke, fast auf die Art, wie man ein Gebaude einrichtet und abzeichnet, einen Entwurff oder Riss machet, um anzuzeigen, wo ein Saal, eine Stube, eine Kammer u.s.w. angeleget werden sollen.

29. Ibid.,30: Wer sich also, seiner Feriigkeit im Setzen ungeachtet, der oberwehnten Methode, auf gewisse ungezwungene Art bedienen will, der entwerffe etwa auf einem Bogen sein volliges Vorhaben, reisse es auf das grobste ab, und richte es ordentlich ein, ehe und bevor er zur Ausarbeitung schreitet.

30. Ibid., 37: Die Erfindung will Feuer und Geist haben; die Einrichtung Ordnung und Maasse; die Ausarbeitung kalt Blut und Bedachtsamkeit.

31.Ibid.,Ch.4,17-18: . auf dieselbe Art, wie wir uns einen Vorrath an Wortern und Ausdruckungen

bey dem Reden, . . . mittelst dessen hernach unsre Gedancken, es sey mundlich

54


THE COMPOSITIONAL PROCESS IN MUSIC THEORY 17131850

oder schrifftlich, am bequemsten zu Tage gebracht werden konnen, ohne deswegen allemahl ein Lexicon um Rath zu fragen.

Zwar wem es anstehet, und den die Noth dazu treibet, der mag sich immerhin eine solche schrifftliche Sammlung anschaffen, worin alles, was ihm etwa hie un da an feinen Gangen und Modulirungen aufstosst oder gefallt, ordentlich unter gewisse Haupt-Stucke und Titel zu finden sey, damit er, erfordernden Falls, Rath und Trost daraus holen konne. Allein es wird vermuthlich ein lahmes und geflicktes Wesen herauskommen, wenn einer vorsetzlicher und muhsamer Weise aus solchen Lappen, waren sie auch von silbern und guldnen Stucken, sein Machwerck zusammenstoppeln wollte.

32. A. Reicha: Traitedehautecompositionmusicale(Paris: Zetter, [182F6] ),Vol. 2, p. 235.

33. C. Czerny: School of Practical Composition. . ., Op. 600, trans. J. Bishop (London: Robert Cocks, n.d.; German original Die Schule der praktischen Tonset- zung, Berlin: Simrock, n.d.), Vol. 1, p. 20. See W. S. Newman: 'About Carl Czerny's Op. 600 and the "First" Description of "Sonata Form" ', 7Ournal of the AmericanMusicologicalSociety,Vol.20,No.3,1967,pp. 513-5.

MUSIC ANALYSIS 3: 1, 1984 ss

Article Contentsp. 29p. 30p. 31p. 32p. 33p. 34p. 35p. 36p. 37p. 38p. 39p. 40p. 41p. 42p. 43p. 44p. 45p. 46p. 47p. 48p. 49p. 50p. 51p. 52p. 53p. 54p. 55

Issue Table of ContentsMusic Analysis, Vol. 3, No. 1 (Mar., 1984), pp. 1-98Front Matter [pp. 1-2]Guest Editorial [pp. 3-7]Machaut's 'Rose, Lis' and the Problem of Early Music Analysis [pp. 9-28]The 'Compositional Process' in Music Theory 1713-1850 [pp. 29-55]A Bagatelle on Beethoven's WoO 60 [pp. 57-68]The Enigma of 'Variations': A Study of Stravinsky's Final Work for Orchestra [pp. 69-89]Conference Report: Sixth Annual Meeting of the Society for Music Theory [pp. 91-95]Correspondence[Letter from Malcolm McDonald] [p. 96]

Back Matter [pp. 97-98]

compositional process in music theory (1713-1850)

Documents

piece of music

simple harmony

music theory

music analysis

word harmony

conditions of use

jstor archive

noncommercial use