Luann Dragone
CUNY Graduate Center
The compositions of Louise Talma's first-period (1939-1953) have previously been analyzed in some minor studies that focused primarily on the works' harmonic aspects and relied on traditional harmonic theory to do so. But a careful examination of these compositions reveals a consistent compositional logic that exists independent of harmonic functionality. Although Talma's first-period "neo-classical" compositions often include triadic and/or extended triadic harmony, and at times display tonal centricity or implicit tonality, functional harmony is not a significant structural determinant of her music.
In this paper I demonstrate that pitch-class set structures based on the pentatonic scale dominate the first-period compositions and establish Talma's consistent harmonic vocabulary. Utilizing atonal set theory, I discuss the pitch-class set types that characterize the majority of Talma's first-period works. Talma's principal set, pentachord 5-35 <02479>, and its subsets comprise the basic harmonic vocabulary of the first period. I consider the transformational aspects of these sets, and the sharp focus of Talma's harmonic language that results in not only a saturation of the pentatonic pitch-class sets, but also pcsets with a similarity of pitch classes. Such understanding fosters a greater appreciation of Talma's compositional design, content, and intention.
Included in this paper are examples derived from Talma's Four-Handed Fun (1939), One Need Not Be a Chamber to Be Haunted (1941), Piano Sonata (1943), The Swing (1944), Alleluia in the Form of Toccata (1945), La Corona (1950-54), and Let's Touch The Sky (1952).