Conceptualising Expressive Chromaticism in Liszt's Music

Satyendra, Ramon

doi:10.2307/854466

Cited by 5 publications

(3 citation statements)

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“…Fig. 7 maps Satyendra's (1997, p. 225) reduction onto the triadic space of G verbunkos minor (and considering enharmonicism).…”

Section: All Roads Lead To the Futurementioning

confidence: 99%

“…Successive polymodality, on the other hand, consists of an oscillation between different modes. This element, additionally studied by Lajos Zeke (1986), can also manifest as inflected repetitions, as defined by Ramon Satyendra (1997). According to Loya, 'The most common modal variability of the verbunkos idiom is a kind of persistent major-minor flux, or even more idiomatically, a minormajor flux ' (2011, pp.…”

Section: The Verbunkos As Structural Principlementioning

confidence: 99%

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A ‘New Scale’ from the Beyond: Verbunkos and Triadic Transformations in a Piece Attributed to the Spirit of Liszt by Rosemary Brown

Bomfim,

Almada

2023

Music Analysis

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This article discusses ‘New Scale Modulations’, an unusual piece attributed to Franz Liszt by Rosemary Brown (1916–2001), a British composer who claimed to be a spirit medium. ‘New Scale Modulations’ ‘invents’ four key signatures that correspond to four transpositions of the same mode. The ‘New Scale’ and the way it is used establishes a unique mediation between two independent worlds: that of verbunkos asymmetrical scales and that of symmetrical musical thinking, especially hexatonic scales and triadic transformations. By this means, ‘New Scale Modulations’ establishes a deep and rational dialogue with Liszt's harmonic language, incorporating several elements of the verbunkos and Zukunftsmusik. Without ‘proving’ Brown's spirit medium claims, ‘New Scale Modulations’ challenges the view of her as no more than a superficial and intuitive imitator.

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“…Fig. 7 maps Satyendra's (1997, p. 225) reduction onto the triadic space of G verbunkos minor (and considering enharmonicism).…”

Section: All Roads Lead To the Futurementioning

confidence: 99%

Section: The Verbunkos As Structural Principlementioning

confidence: 99%

A ‘New Scale’ from the Beyond: Verbunkos and Triadic Transformations in a Piece Attributed to the Spirit of Liszt by Rosemary Brown

Bomfim,

Almada

2023

Music Analysis

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“…I am following Satyendra's (, p. 219) identification of these two primary music‐analytical approaches in the twentieth century.…”

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confidence: 99%

Schoenberg and Liszt: Hexatonic Collections across the Great Tonal Divide

Argentino¹

2017

Music Analysis

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This article explores passages from Liszt's and Schoenberg's compositions that share the versatile hexatonic collection which can function within, without or somewhere in between a tonal harmonic framework. The underlying harmonic structure of the hexatonic‐based passages from Liszt's oratorio St. Stanislaus (1875), Schoenberg's ‘Nacht’ from Pierrot lunaire (1912), and Modern Psalm, Op. 50c (1950), are almost identical, even though the works were written in distinctly different genres and at very different times. The extramusical associations in these works, in which the sublime or supernatural is represented by hexatonic‐based symmetry, recurs in the compositions examined here.

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Scale Networks and Debussy

Tymoczko¹

2004

Journal of Music Theory

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It is frequently observed that over the course of the nineteenth century the chromatic scale gradually supplanted the diatonic. 1 In earlier periods, non-diatonic tones were typically understood to derive from diatonic tones: for example, in C major, the pitch class F≥ might be conceptualized variously as the fifth of B, the leading tone of G, or as an inflection of the more fundamental diatonic pitch class FΩ. By the start of the twentieth century, however, the diatonic scale was increasingly viewed as a selection of seven notes from the more fundamental chromatic collection. No longer dependent on diatonic scale for their function and justification, the chromatic notes had become entities in their own right. Broadly speaking, composers approached this new chromatic context in one of two ways. 2 The first, associated with composers like Wagner, Strauss, and the early Schoenberg, de-emphasized scales other than the chromatic. 3 Chord progressions were no longer constrained to lie within diatonic or other scalar regions. Instead, they occurred directly in chromatic space-often by way of semitonal or stepwise voice leading. Melodic activity also became increasingly chromatic, and conformed less frequently to recognizable scales. Chromaticism thus transformed not only the allowable chord progressions, but also the melodies they accompanied.

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Conceptualising Expressive Chromaticism in Liszt's Music

Cited by 5 publications

References 0 publications

A ‘New Scale’ from the Beyond: Verbunkos and Triadic Transformations in a Piece Attributed to the Spirit of Liszt by Rosemary Brown

A ‘New Scale’ from the Beyond: Verbunkos and Triadic Transformations in a Piece Attributed to the Spirit of Liszt by Rosemary Brown

Schoenberg and Liszt: Hexatonic Collections across the Great Tonal Divide

Scale Networks and Debussy

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