Soru

Read the following passage carefully, then match each paragraph to its primary rhetorical function within the passage's overall logical structure.

For much of the twentieth century, the historiography of Western art music was dominated by a narrative of rupture regarding the transition to atonality. Central to this paradigm was Arnold Schoenberg’s self-proclaimed "emancipation of the dissonance," a concept positing that by the early 1910s, dissonant intervals had been freed from their traditional obligation to resolve into consonances. According to this orthodox view, this emancipation constituted a deliberate, radical severing of ties with the tonal syntax that had governed European music for centuries. Textbooks and theoretical treatises alike codified this narrative, treating the advent of free atonality not merely as a stylistic evolution, but as a paradigm shift that functionally annihilated the structural hierarchy of diatonic tonality in favor of a fundamentally new harmonic universe.

However, recent musicological scholarship has increasingly problematized this narrative of discontinuous revolution. Revisionist historians argue that the so-called emancipation was less an abrupt ideological fracture than a logical, almost inevitable extrapolation of the voice-leading practices prevalent in late Romanticism. Scholars such as Julian Hartman contend that the intense chromaticism of composers like Wagner and Mahler had already stretched the tonal fabric to its limits, effectively blurring the phenomenological distinction between consonance and dissonance. In this view, Schoenberg's early atonal works did not abandon tonal logic; rather, they represented the terminus of a continuous historical trajectory wherein dissonant sonorities were progressively accorded the structural weight and prolongational capacity formerly reserved exclusively for consonant triads.

Hartman supports this thesis by analyzing the contrapuntal architecture of transitional works from the period. He demonstrates that in these compositions, purported "unresolved" dissonances still function within a deeply traditional voice-leading matrix. Instead of resolving locally to consonances, these dissonances are prolonged over extended spans, creating a higher-level structural tension that is eventually resolved only at the macro-level of the movement's form. This suggests that the composers were not discarding the principle of resolution, but rather distending it across broader temporal canvases. By mapping these voice-leading prolongations, Hartman reveals a latent tonal scaffolding beneath the supposedly atonal surface, arguing that the perception of radical rupture relies on a superficial, purely vertical reading of harmony that ignores the horizontal, linear forces driving the music.

The implications of Hartman's analysis extend far beyond a mere technical re-evaluation of early twentieth-century repertoire. If atonal music is understood as an evolutionary extension of tonal principles rather than a repudiation of them, the traditional demarcation between musical Romanticism and Modernism is profoundly destabilized. This continuity thesis compels historians to re-examine the socio-cultural motivations behind the initial promotion of the "rupture" narrative. It becomes evident that the concept of an emancipated dissonance was, at least in part, a post hoc rhetorical strategy employed by the avant-garde to secure institutional legitimacy and historical inevitability, thereby revealing that the history of musical modernism is as much a history of ideological self-fashioning as it is of purely structural innovation.

Match each paragraph with the statement that best describes its rhetorical function.