(Originally posted on April 9, 2002)
As its Japanese subtitle, “The Theme and Construction of Classical Music,” suggests, this masterpiece explains the concept of “thematic process,” a cornerstone of composition in Western music, using a wealth of musical examples.
“Why is it that in music, a certain group of notes can only be followed by another specific group of notes, and not by any random group that happens to fit the key or rhythm?” This is a question that surely intrigues many composers and music lovers.
While clarifying the actual thematic processes of composers through score analysis, the book also delves into what thematic manipulation truly means to a composer and why it is done. This exploration sets it apart from mere analytical texts. It is highly recommended not only for those who compose but also for avid listeners. It offers a flexible and essential perspective on the thematic process, an aspect often highlighted only for its technical side.
On the other hand, despite its importance, “The Thematic Process in Music” has faced various criticisms from the academic world. A primary critique is the apparent lack of methodological rigor in Réti’s analytical approach. Specifically, critics point out that his analysis lacks strict procedures and reproducibility, relying heavily on the analyst’s subjectivity. Furthermore, his focus on pitch cells while often disregarding rhythm and tonality has been noted as creating a disconnect between the reality of musical perception and the analysis itself.
Interestingly, however, modern research that finds value in the core ideas of Réti’s analysis is attempting to mathematically redefine his motivic analysis approach and adapt it for computer-assisted analysis.
◇
I began to seriously explore and listen to classical music after I turned twenty. I had listened to it as a child, but never an entire symphony. My listening was mostly confined to short pieces like the “Turkish March” or excerpts from “Peer Gynt”—essentially, the kind of music one hears in a school music class.
When I started listening to classical music more seriously in my twenties, something bothered me. Even when it was explained that the sense of unity and coherence I felt in the music was supported by techniques like the thematic process, simply tracing this on the score didn’t bring any real understanding. The connection between the score and what I was hearing remained elusive.
However, reading this book brought a sense of great relief, making me realize, “Ah, so the technique serves the pre-existing *feeling* of unity!” I had been stuck in a dead end, trying to approach it from the other side, asking, “What kind of feeling (unity) does compositional technique produce?” As the afterword suggests, this is a book that can provide a truly fresh sense of inspiration.
Table of Contents for “The Thematic Process in Music”
- Acknowledgments
- Introduction: The Thematic Concept – A Fundamental Element for Understanding the Art of Music
- Part I: Thematic Homogeneity and Thematic Transformation
- Chapter 1: The Thematic Structure of the Ninth Symphony
- Chapter 2: Schumann’s “Kinderszenen” (Scenes from Childhood): Theme and Variations
- Chapter 3: Historical Origins: Imitation, Variation, Transformation
- Chapter 4: Types of Transformation
- Part II: The Thematic Process and the Problem of Form in Music
- Chapter 5: The Two Form-Building Forces in Music
- Chapter 6: Thematic Development and Thematic Resolution
- Chapter 7: Special Types of Structural Consistency
- Chapter 8: Thematic Key Relations
- Part III: Evaluation and Outlook
- Chapter 9: Is the Thematic Process Conscious or Subconscious?
- Chapter 10: Sources and Evolution of the Thematic Principle
- Chapter 11: Climax and Decay of the Thematic Principle
- Chapter 12: Some Final Considerations on the Nature and Scope of the Thematic Process
- Translator’s Afterword
- Index of Names and Compositions
About the Author
Rudolph Réti
Réti (1885-1957) was born in Serbia and later moved to Vienna. He studied piano and music theory at the Academy of Music and obtained a degree in musicology from the University of Vienna, working as a music critic, pianist, and composer. In 1939, he moved to the United States and dedicated himself to musicological research, which is why today he is known more as a musicologist. (Quote from the Japanese edition of the book)
Related Articles
