This paper deals with a tonal phenomenon, “directional tonality,” as witnessed occasionally in chromatic music of the nineteenth century. The paper begins by tracing a definition of the directional tonality and diverse compositional techniques related to manipulations of the tonality through the literature review. I have then examined theoretical assumptions for Schenkerian analytic models to be applied to musical works taking the directional tonality as a structural basis. After proposing analytic premises for the application of the Schenkerian analysis to the directional tonality work, I have presented three analytic essays based on Gustave Mahler's Lieder, Erinnerung, Der Tamboursg'sell, and Ich hab' ein glühend Messer, all of which pose such a structural trait. The Erinnerung that features a tonal shift to the major second above accomplishes the directional tonality by transforming a dominant 9th chord to IV9, whereas the Der Tamboursg'sell takes a series of transformations, in which a subdominant changes into a tonic and in turn to a dominant. The last excerpt, which marks a key relationship of a minor second apart, involves the most radical transformation process that changes the in the opening key into the forming a structural cadence in the second key.
제1장 들어가면서
제2장 동적인 조성
제3장 분석 방법론으로서 쉔커식 중경층의 수정 및 절층
제4장 세 곡의 분석
제5장 나가면서
참고문헌