Tension And Transformational Harmony: “News Has A Kind Of Mystery” From John Adams's Nixon In China (1987) (Part 3)

Abstract

In traditional literature, transformational harmony is considered non-functional (Cohn 1996). This paper introduces a new framework to view transformational progressions with tensional areas, called levels, that parallel the system of tension and release seen in functional harmony. These levels section off phrases into areas of varying levels of tension and lack of tension. Neo-Riemannian transformations, simplified into common tone relations, between triads dictate how and what level the phrase on, and what level the phrase is moving towards. Further application of this theory divides arias into subsections based on tension and release. Examples from “News has a kind of mystery” from John Adams’s Nixon in China are used to showcase this novel theory. 

Introductory Information

Introduction to transformational harmony

Transformational harmony can be viewed through a Neo-Riemannian lens. An influential book titled “John Adams’s Nixon in China: Music Analysis, Historical and Political Perspectives” (Johnson 2011) forms the foundation of the literature for the analysis of this opera. Johnson quickly describes the necessary information to understand his analysis for Nixon in China. I have paraphrased it here. There are three basic Neo-Riemannian transformations. All three transformations take a triad and changes a note in the triad to alter the quality, root note, or both. The Parallel transformation, denoted by the symbol ‘P’, shifts the 3rd in the triad by a semitone, while keeping the fifth constant. Basically, a major chord turns into a minor chord and vice versa. The Relative transformation keeps the major third in the triad constant, while moving the other note by a step. It is easier to think of it as its name: going to the relative major or minor. For example, from C major to A minor is a relative or ‘R’ transformation. The final basic transformation is the Leading-tone transformation. Hold the minor 3rd in the interval constant while moving the other note by a semitone. Since the note moving will always be to the, or away from the leading tone of the major triad, the name makes sense. A C major triad transforming to an E minor one would be an example of ‘L’ transformation. These three are basic transformations because the triad keep two common tones, while only one note changes. This will be important later in the analysis. Johnson also speaks to the ‘SLIDE’ transformation, which can be obtained with an ‘LPR’ combined transformation, applying the basic ones in that order, from left to right (Lewin 1987). This will be used to turn a major chord into a minor chord a semitone higher. This is a combined transformation since the basic transformations are combined to form this transformation. Starting with any triad, you can get to any other triad just by applying basic transformations to the chord. Since these chords only relate to chord before it, and not to a key centre, transformational harmony is non-functional.

The novel theory that this paper describes does not need the differentiation between the P, R, and L transformations. Instead, the term basic transformation will be used when two triads share two common tones. Furthermore, all triads that share one common tone will be grouped together into the term compound transformations (Cohn 1997). Lastly, SLIDE transformations are different than other compound transformations because of the aurally distinct half-step motion in the outer voices (Lewin 1987). The outer voices move up or down by half-steps, causing the audience to hear parallel fifths. These three types of transformations, basic, compound, and SLIDE, will be used in the theory instead of P, L, and R.

Introduction to Nixon in China

Nixon in China shapes American opera in the twenty first century. A drastic shift from the fantastical plots of operas in the past, Nixon in China is about what one would expect: Richard Nixon visiting communist China in 1972. A historic visit, yes, but rather unorthodox as operas go. The plot of the opera is the real-life event, what the leaders did on each day of the visit, down to the ballet the American envoy watched. The dialog between Mao and Nixon is even accurate, or at least accurately paraphrased, in Act I, Scene 2 (Lord 2006). The opera is the culmination of nearly five years of work between Peter Sellars, Alice Goodman, and of course, John Adams. Sellars came to Adams with the idea to write this opera in 1982, and the two of them agreed to start work in 1985, but only after Adams has gotten over his fear of writing opera, since he has not composed for the voice in his career yet (Adams 2008, 134). Alice Goodman, a classmate of Sellars, wrote the libretto. Goodman, who is well-versed in classical poetry, wrote a libretto that was, as Adams puts it, “beyond what was usual in an opera” (Adams 2008, 136). We can discuss the libretto at length, for it is a very well written work that is able to stand by itself, and combined with Adams’s writing, makes Nixon in China stand out from the crowd of minimalistic operas, but that is not the focus of this paper.[1] Nixon in China premiered at the Houston Grand Opera in 1987 with great excitement. It received mixed reviews at the premiere, with critics saying that it will disappear, thanks to the time-sensitive content, but it seems that time has been the opera’s greatest ally. Nixon in China enjoyed a Met production in 2011, and subsequently has been the topic of many academic papers, with entire books written on the opera. Nixon in China is now accepted as part of the operatic canon.

Adams’s harmonic language is atonal, but Nixon in China is not a serial opera. This opera sits on a tightrope when it comes to definitions. Adams’s language is one that uses chords that only relate to each other through transformations, and not a tonal centre. His usage of this style is quite rare time period. Late romantic composers often used transformational harmonic techniques when they expanded away from tonal sections, but never for an entire work. He shows us what tonal harmony could have been if it wasn’t for the mainstream adaptation of atonal ways of writing. His minimalistic language greatly contrasts other new works of this era too; there are no lush harmonies or sweeping lyric lines to be found in this opera, and he doesn’t write in a film music tradition. He does not try to extend the romantic, rather, his development of tonal harmonies takes a completely different path, which is of course, minimalism. One can say that Adams minimalizes unnecessary harmonies that serve to only isolate the listener from the melody. Therefore, we can simplify his style of musical composition as melody focused, with the harmony serving to only support the melody and shape the scene. With this framework in mind, we can explore how Adams writes his harmonies to fit his vocal lines.

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            We have now discussed all the foundational information needed to understand the topic of this paper. With a non-functional chord progression that is the foundation of progressions in Nixon in China, why does one still hear tension and release? Through the analysis of three types of transformations (basic, compound, and SLIDE), I will demonstrate that transformational phrases still have quasi-functional tension and release. These sections of heightened tension, called “levels of tension” in this analysis, can be viewed further as formal dividers for entire arias in Nixon in China.

 

Theory and Analysis

Tension in transformational phrases

Figure 1: “Cycle chart” Tensional levels and types of transformations that move between them

            The roman numerals represent the levels of tension. Level I has no tension, while level II and III have more tension than the previous level. Therefore, phrases always move from level I to level II, sometimes to level III, and always back to level I again. This cycle forms every phrase, and multiple cycles form entire sections and in larger form, the whole piece. This diagram also has three types of transformations that represent the movement between levels. When chords undergo these types of transformations, the level of tension either stays the same, increases, or is released, in the case of level III to level I. A basic transformation causes the level of tension to stay constant. A compound transformation causes the level to increase by one, for example, a series of chords that are in level I to move to level II. And finally, the SLIDE transformation releases tension from either level II or III to level I.

            In the next section, a phrase will be analysed from Nixon in China that has every type of transformation and moves through all three levels of tension. This will form the example that supports this novel theory.

Theorem example: “News has a kind of mystery” from Act I, Scene 1 of Nixon in China (m. 347-417)

Figure 2: Chord progression of "News has a kind of mystery" from Act I, Scene 1 (m. 347-417)

            This is a sequence of triads that contains transformational relationships between each chord. The labels at the top are just for easy reference to the sections below on each individual type of transformation. The levels of tension at the bottom show the movement between the levels of tension, from level I to level III, with a resolution back to level I. From first glance, one can tell that each subsequent chord always shares one note with the chord before it. During no change of level, they share two. In addition, basic transformations always switch modalities, from major to minor and vice versa. In a compound transformation, modality is kept constant, major staying major or minor staying minor. Therefore, there is always a modal contrast between an increase in level or a constant progression. Only a SLIDE transformation has a change in modality and a change in level. This is useful in deciphering a previously unseen example, to try to figure out the level changes within it.

            Example 1 shows no change in tension. The Ab major chord goes to an F minor chord and vice versa for the first two transformations. These two chords share two common tones, or using Neo-Riemannian terminology, an R transformation. Then the Ab major to C minor, an L transformation, occurs but new chord does not mean there is a change in tensional level, for they still share two common tones.

            Example 2 shows an increase in tension. From Ab major to C major, which by the way, is modally similar, signals an increase in tension due to the two chords sharing only one common tone. The next change, from C major to Ab major, is a return to level I, not an increase in tensional level since we are just undoing the change from before.[2] The next tensional increase is from C major to E major, sharing once again, just one common tone, E. Now at the third level of tension, tension must be released.

            Example 3 shows the release of tension. From E major to F minor there is a SLIDE transformation. The middle note of E major, G#, is kept constant while the outer voices move up by half-steps. This gives F minor, and a release in tension.

Application to determine form from “News has a kind of mystery” from Act I, Scene 1 of Nixon in China (m. 347 – 509)

            A further application of this theory is to determine small scale form. This can be shown in the rest of the aria.

Figure 3: Chord progression of "News has a kind of mystery" from Act I, Scene 1 (m. 347 - 509) detailing subdivisions of form

            This diagram shows the progression of triads in the full first section of the aria “News has a kind of mystery”. With the level theory, this section can be divided into a further four sections by where the SLIDE transformations are. Each new line is an increase in level, also labeled on the right. Therefore, the SLIDE transformations correspond to a cadential gesture, signalling the end of sections and phrases. The text of this aria also corresponds to these cadential gestures, with sentences ending at the SLIDE transformations without fail.

This shows the cycles of tension and release in Nixon in China, and one can see that these cycles almost mimic what functional harmony would have achieved in terms of tension and release. This is the height of this novel theory at the moment. In the conclusion, I will discuss the further applications of this theory, and what work I think can be done to increase the relevance of the tensional levels in transformational harmony.

 

Conclusion and Further Questions

            A large gap in this theory is not including seventh chords in the cycle chart, in figure 1. Sevenths chords make up large part of the harmonic language in the opera, and of course, in pieces that use transformational harmony as a whole. There is literature that connects triads to sevenths chords, but I have not found a connection to fit the sevenths chords into the cycle chart. I think the work of Hook (2007) and Childs (1998) might provide the resources needed to further the integration of sevenths chords into the new theory. Hook provides a new transformation, the modified L, or L prime. The basic L transformation, which lowers the root into its leading note, is the foundation of this transformation. Hook explains that “…for any major or minor triad X, L′(X) is by definition the unique major-minor or half-diminished seventh chord that contains all the notes of L(X). Thus L′ maps a C major triad to a C-sharp half-diminished seventh chord (which contains the notes of the E minor triad, L of C major), and maps a C minor triad to an A-flat major-minor seventh chord (Hook 2007, 2).” To move between seventh chords, we must look at another paper, this time by Childs (1998, 185-189). He writes about two sets of transformations, the S family, and the C family. He frames his work in the idea of smooth voice leading, and these transformations are connections between sevenths chords (Forte 4-27) with the least amount of note movement. He explains:

This system consists of two distinct families of operations. The larger family is that of the S transforms, which involve holding two pitches constant while the other two move by half step in similar motion. Like the neo-Riemannian operations, each of these six transformations results in a change of mode and is involutional in nature. The individual transformations are labeled with a subscript that indicates the interval class between the two pitches being held constant and a parenthetical subscript that indicates the interval class of the two pitches that move. The second family is that of the C transforms, which involve contrary motion for the non-fixed pitches. The subscripts for the three members of this family follow the same labeling convention. Since the C transforms maintain chord quality, only C6(5) is an involution. C3(2) and C3(4) are each other's inverse. (Childs 2007, 185)

In addition to sevenths chords, Adams uses bichords extensively in this opera as well. The dissonance and multiple voices that bichords have poses a problem to the current framework. I have no research on this subject and I suppose to fit this into the framework of the cycle chart, there needs to be new research on how the voices move and relate to each other; to connect everything on a common tone basis.

Further application to other pieces that use transformational harmony is needed to expand this theory.

            In “News has a kind of mystery” in Nixon in China, we have seen how small form can be derived from the presence of SLIDE transformations, and how those SLIDE transformations are apart of a cycle of rising and falling tension. Through the observation of basic and compound transformations, we have seen that phrases go through sections of rising tension, and then falling tensions through SLIDE transformations. With this framework, we have added tension to transformational harmony, harmony that was traditionally viewed as non-functional, and therefore, without the usual tension and release of the tonic, subdominant, and dominant. We have created a quasi-functional system where transformational harmony can also go through the same tension and release that functional phrases go through.

[1] If the reader so desires to read about the libretto of Nixon in China, I want to recommend to you the monumental work that is the Johnson book, which is referenced in the list below. I have also written a paper solely on the analysis of the libretto and the music (word-setting) in Act I, Scene II, which can be accessed by contacting me.

[2] Chords that return to the chord before it is quite common in this opera as a whole, and sometimes a loop of three or more chords occur that return to a “home chord”, often cycling though multiple levels.

References

Adams, John. 1994. Nixon In China. London: Boosey & Hawkes.

———. 2008. Hallelujah Junction. New York: Farrar, Straus and Giroux.

Capuzzo, Guy Capuzzo. 2004. “Neo-Riemannian Theory and the Analysis of Pop-Rock Music.” Music Theory Spectrum 26, no. 2: 177–200. https://doi.org/10.1525/mts.2004.26.2.177.

Childs, Adrian P. 1998. “Moving beyond Neo-Riemannian Triads: Exploring a Transformational Model for Seventh Chords.” Journal of Music Theory 42, no. 2: 181–93. https://doi.org/10.2307/843872.

Cohn, Richard. 1996. “Maximally Smooth Cycles, Hexatonic Systems, and the Analysis of Late-Romantic Triadic Progressions.” Music Analysis 15, no. 1: 9–40. https://doi.org/10.2307/854168.

———.1997. “Neo-Riemannian Operations, Parsimonious Trichords, and Their ‘Tonnetz’ Representations.” Journal of Music Theory 41, no. 1: 1–66. https://doi.org/10.2307/843761.

———. 1998. “Introduction to Neo-Riemannian Theory: A Survey and a Historical Perspective.” Journal of Music Theory 42, no. 2: 167–80. https://doi.org/10.2307/843871.

Hook, Julian. 2007. “Cross-Type Transformations and the Path Consistency Condition.” Music Theory Spectrum 29, no. 1: 1–40. https://doi.org/10.1525/mts.2007.29.1.1.

Johnson, Timothy. 2011. John Adams’s Nixon in China: Music Analysis, Historical and Political Perspectives. Surrey: Ashgate Publishing.

Lehman, Frank. 2014. “Schubert’s SLIDEs: Tonal (Non-)Integration of a Paradoxical Transformation”. Music Theory and Analysis (MTA) 1, no 1–2: 61–100. https://doi.org/10.11116/MTA.1.4.

Lewin, David. 1987. Generalized Musical Intervals and Transformations. New York: Oxford University Press. Oxford Scholarship Online. https://doi.org/10.1093/acprof:oso/9780195317138.001.0001.

Lord, Winston. 2004. “Mao Zedong Meets Richard Nixon, February 21, 1972.” USC US-China Institute. https://china.usc.edu/mao-zedong-meets-richard-nixon-february-21-1972.

May, Thomas. 2006. “John Adams Reflects on His Career.” The John Adams Reader: Essential Writings on an American Composer, edited by Thomas May. Pompton Plains: Amadeus Press.

Schwartz, David. 1992. “Postmodernism, the Subject, and the Real in John Adams’s Nixon in China.” Indiana Theory Review 13, no. 2: 112. http://www.jstor.org/stable/24046021

Warburton, Dan. 1988. “A Working Terminology for Minimal Music.” Intégral 2: 135–59. http://www.jstor.org/stable/40213909.