klezmer melodic contours 3

[Joshua Horowitz <horowitz...>]

Aaron wrote:

Josh,

        Thank you so much for your e-mail.  Please do post the message
on
the list, I'm sure many people will appreciate it.  
        When I referred to Schenker, I did it only in the loosest sense.
Obviously his methods of analysis don't apply to modal music, for many
reasons, especially because of different tonic/dominant relationships,
cadential movement, etc.  I was referring to the concept of
urlinie/ursatz
as an outline of the melody.  I guess you can only really apply it to
modal music if you take it out of its harmonic context that Schenker
emphasized so heavily.  
        I took a class on Schenkerian analysis last fall, and, while I
do
understand and can empathize with people's problems with his methods, in
of what it is, I think it's a great way of learning to look at music
analytically.  I don't at all see it as an accurate reflection of the
internal processes in music, but I do see it as a great learning tool
for
students of music analysis.  It teaches you how to look at music in one
very specific context.  But if you combine it with the other specific
contexts taught to you, coupled with your own idependent and creative
approaches to the music, I think you can understand a lot about a
specific
piece or genres of music.

        Re: melodic contours.  Thank you so much for your detailed
e-mail....

 I have a few questions
regarding your e-mail: Are the examples that you provided just examples
or do they represent the more common overlapping contours?  Are there a
large amount of overlapping contours, or are there just a few?  Also, do
the specific motifs vary based on the relationship between the two
modes?
Are there contours that overlap with more than just two modes?  

        Sorry for all these questions.  Again, thank you so much for
your
thoughtful response.

        Aaron

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