In this regard, acoustical measures of stability, motivic connections, and chord equivalence all may form a part in determining the structural harmonies. The main obstacle for prolongational views of extended tonality is finding sufficient conditions for establishing that certain harmonies are structural in the absence of traditional harmonic function. While both tonal and post-tonal theory have been extended in various ways to address this music, the use of tonal theory for analysis of this repertoire has not been completely formalized. Most analytical methods are designed to address either tonal music or atonal music, but no single method completely illuminates this body of extended-tonal music. Many musical compositions from the end of the nineteenth century and the beginning of the twentieth century retain some elements of functional tonality but abandon others. The theoretical foundation combines Schenkerian theory with aspects of Joseph Straus's interdisciplinary studies on musical modernism and disability (2018) and Daniel Harrison's harmonic theory on 19 th-and early 20 th-century chromatic music (1994).
I demonstrate how 1) tonal madness may be associated with the deformation of tonic and dominant functions, 2) tonal ambiguity emerges from the presence of opposing tonal forces within the same musical space, and 3) tonal coloring is achieved through chromatic voice-leading, tonally oriented parallelism, and the substitution of standard tonal events. I focus on three broad tonal effects that characterize the style of the selected studies, examining in detail some of their specific realizations.
The goal of this paper is to shed new light on selected strategies that characterize the tonal style of the first nine studies of the set by means of examining Villa-Lobos's treatment of tonality from a perspective that takes into account the role of large-scale structure.
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