id	author	title	date	pages	extension	mime	words	sentence	flesch	summary	cache	txt
currentmusicology-5395	Blackmore, Callum	Berton’s Ludic Pedagogy and the Subdominant Otherwise: Tension and Compromise in the Early Paris Conservatoire Curriculum	2019	42	.pdf	application/pdf	15785	747	51	However, this entr’acte goes one step further by foregrounding the tetrachordal divisions of the scale Berton’s axial tonal space entails: not only do various “diatonic quiescenzas” (Gjerdingen 2007, 228) spell out the pitches of the tétrachord authentique, the bass line moving from the subdominant tonicization to the tonic return (via the second-inversion dominant seventh) spells out a tétrachord plagale.39 In light of ongoing debates around so-called “intentional fallacy” in music analysis, some might say that it would be spurious to suggest that Berton deliberately set out to organize these numbers around a decidedly Rameauian conception of harmonic space.40 Berton wrote a great many arias that do not use the subdominant at all, either as modulating key aria or as an individual chord. In his Dictionnaire, Castil-Blaze proclaimed that “Mr Berton has found a very ingenious means of teaching young pupils an introduction to the principal chords of all of the tones,” and in his introduction to game’s second edition, Castil-Blaze declared that 131 Callum Blackmore Berton’s pedagogical method should be “agreeable to all musical amateurs and useful to all young students” (Castil-Blaze 1825, 163; Berton 1842, 1).	cache/currentmusicology-5395.pdf	txt/currentmusicology-5395.txt