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1、BillEvansandTheLimitsofSchenkerianAnalysismArkmcfArLAndTheapplicationofSchenkeriananalysistojazz,somethingthatSchenkerwouldlikelyhavedoneonlytoprovethedeficiencyofthestyle,hasbecomemoreprominentinrecentyears.Thehistoryofsimilarresearchstretchesbacktothe1970s,
2、althoughthesestudieswererelegatedprimarilytojazzjournalsandtheoccasionalthesisordissertation.1By1995,however,monographsontheAmericanpopularballadandthemusicofGershwin,byForteandGilbert,respectively,broughtgreaterlegitimacytothislineofresearch.Thesewere,aftera
3、ll,thejointauthorsofthefirstwidely-usedtextbookonSchenkeriantheory(ForteandGilbert1982).Theirstudiessuggestedthatthesestyleswerenot,inthewordsofFurtwängler(1985,4),merelyastringofintricaciesthat“existforthemomentinwhichtheysound,”butthatlong-rangehearingcould
4、highlightthesamesortsofcharacteristicsthatunifytheworksofthetonalmasters.Thesetwobooks,alongwiththatofMartinonthemusicofCharlieParkerfrom1996,alladaptSchenkeriantheoryinavarietyofways.Amongthesethreestudies,themostradicalmodificationsaremadebyForte,2whoredefi
5、nesbasictenetssuchastheautomaticbeamingofdescendingfifthbassmovement,3theuseofbeamsintheuppervoicetoconnectasuccessionoftonesthatdonotcreatealinearprogression,4andtheadditionof^6asapotentialKopfton.5Gilbert’smodificationstoSchenkeriananalysisarelessextremeand
6、stemfromthetreatmentofdissonanceinjazz.Gilberttacklesthistopicatthebeginningofhisstudy:SinceGershwinwrotebasicallytonalmusic,itisreasonablethatweadoptamodifiedSchenkerianapproach.However,theword“modified”mustbestressed.ThemainpointofdifferenceisthatinIwouldli
7、ketothankPoundieBursteinforhisvaluablecommentsandsuggestionsonanearlierversionofthisstudy.1Stewart(1973/1974–75);Owen(1974);Martin(1975,37);Simon(1978);Strunk(1979);andLarson(1981and1982).Twostudiespublishedinthemid-1980santicipatedtheimportanceofthethreemono
8、graphsthatfollowedadecadelater:Strunk(1985)andLarson(1987).2EarlierstudieshaveproposedmoreradicalmodificationstoSchenkeriantheoryintheiranalysisofjazz.Forexample,Davis(1990)hasproposedcon
