A synthesis of Schenkerian and Neo-Riemannian theories: the first movement of Paul Hindemith’s Piano Sonata No. 1 as a case study

© 2017 Yvonne TeoThis thesis explores the possibility of synthesising some aspects of Schenkerian and Neo-Riemannian theories and seeks to demonstrate the effectiveness of this approach in the analysis of a twentieth-century sonata. Although this study begins with a thorough understanding of Neo-Riemannian theory (NRT), the final hybrid method is not a strict application of NRT, employing its core principles rather than its specific method. Paul Hindemith’s Piano Sonata No. 1 is selected for this study as this work contains vestiges of tonic-dominant tonality (inviting Schenkerian analysis) but also employs a non-traditional post-tonal harmonic structure (inviting a NRT approach). The Schenkerian method has been long recognised as a useful tool to analyse primarily tonal repertoire whereas Neo- Riemannian theory is useful in analysing the heavily chromatic harmony of the nineteenth century. A hybrid analytical method encompassing aspects of the two approaches is designed to potentially strike a balance between a subjective and objective understanding of the music. A chart is designed with three systems: the Urlinie, pitch collections, and the Bassbrechung. Different sets of data are obtained to describe the transformation from one chord (or more loosely, “pitch collection”) to the next. In calculating these movements between the pitch collections, this NRT-inspired approach will substitute for a traditional harmonic analysis. The synthesis of the two theories will be illustrated through a line graph that charts the amount of intervallic movement between pitch collections against the Urlinie to observe the relationships between the two. Findings indicate that graphical representations deepen our understanding of the connections between one chord and the next through common tones, and furthermore, accommodate all types of chords and not just major and minor triads. Additional notes can then be added to the Urlinie as a result of the identification of significant movements in the graph. The synthesis of these two methods when combined with an analysis of performance recordings will allow a deeper understanding of Hindemith’s Piano Sonata to emerge. This suggests the importance of adopting this hybrid method in approaching Neo-Classical works and indicates how this approach might shape the performer’s interpretation. Therefore, this research can be seen to contribute to the formation of a bridge between music theory and performance