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Schoenberg and Liszt: Hexatonic Collections across the Great Tonal Divide
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| Zeitschriftentitel: | Music Analysis |
|---|---|
| Personen und Körperschaften: | |
| In: | Music Analysis, 37, 2018, 2, S. 184-202 |
| Format: | E-Article |
| Sprache: | Englisch |
| veröffentlicht: |
Wiley
|
| Schlagwörter: |
| author_facet |
ARGENTINO, JOE ARGENTINO, JOE |
|---|---|
| author |
ARGENTINO, JOE |
| spellingShingle |
ARGENTINO, JOE Music Analysis Schoenberg and Liszt: Hexatonic Collections across the Great Tonal Divide Music |
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argentino, joe |
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ARGENTINO, JOE 0262-5245 1468-2249 Wiley Music http://dx.doi.org/10.1111/musa.12093 <jats:title>ABSTRACT</jats:title><jats:p>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 <jats:italic>St. Stanislaus</jats:italic> (1875), Schoenberg's ‘Nacht’ from <jats:italic>Pierrot lunaire</jats:italic> (1912), and <jats:italic>Modern Psalm</jats:italic>, 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.</jats:p> Schoenberg and Liszt: Hexatonic Collections across the Great Tonal Divide Music Analysis |
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Schoenberg and Liszt: Hexatonic Collections across the Great Tonal Divide |
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Schoenberg and Liszt: Hexatonic Collections across the Great Tonal Divide |
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Schoenberg and Liszt: Hexatonic Collections across the Great Tonal Divide |
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Schoenberg and Liszt: Hexatonic Collections across the Great Tonal Divide |
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schoenberg and liszt: hexatonic collections across the great tonal divide |
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Music |
| url |
http://dx.doi.org/10.1111/musa.12093 |
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2018 |
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184-202 |
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<jats:title>ABSTRACT</jats:title><jats:p>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 <jats:italic>St. Stanislaus</jats:italic> (1875), Schoenberg's ‘Nacht’ from <jats:italic>Pierrot lunaire</jats:italic> (1912), and <jats:italic>Modern Psalm</jats:italic>, 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.</jats:p> |
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| author | ARGENTINO, JOE |
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| description | <jats:title>ABSTRACT</jats:title><jats:p>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 <jats:italic>St. Stanislaus</jats:italic> (1875), Schoenberg's ‘Nacht’ from <jats:italic>Pierrot lunaire</jats:italic> (1912), and <jats:italic>Modern Psalm</jats:italic>, 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.</jats:p> |
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| imprint_str_mv | Wiley, 2018 |
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| physical | 184-202 |
| publishDate | 2018 |
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| publisher | Wiley |
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| series | Music Analysis |
| source_id | 49 |
| spelling | ARGENTINO, JOE 0262-5245 1468-2249 Wiley Music http://dx.doi.org/10.1111/musa.12093 <jats:title>ABSTRACT</jats:title><jats:p>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 <jats:italic>St. Stanislaus</jats:italic> (1875), Schoenberg's ‘Nacht’ from <jats:italic>Pierrot lunaire</jats:italic> (1912), and <jats:italic>Modern Psalm</jats:italic>, 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.</jats:p> Schoenberg and Liszt: Hexatonic Collections across the Great Tonal Divide Music Analysis |
| spellingShingle | ARGENTINO, JOE, Music Analysis, Schoenberg and Liszt: Hexatonic Collections across the Great Tonal Divide, Music |
| title | Schoenberg and Liszt: Hexatonic Collections across the Great Tonal Divide |
| title_full | Schoenberg and Liszt: Hexatonic Collections across the Great Tonal Divide |
| title_fullStr | Schoenberg and Liszt: Hexatonic Collections across the Great Tonal Divide |
| title_full_unstemmed | Schoenberg and Liszt: Hexatonic Collections across the Great Tonal Divide |
| title_short | Schoenberg and Liszt: Hexatonic Collections across the Great Tonal Divide |
| title_sort | schoenberg and liszt: hexatonic collections across the great tonal divide |
| title_unstemmed | Schoenberg and Liszt: Hexatonic Collections across the Great Tonal Divide |
| topic | Music |
| url | http://dx.doi.org/10.1111/musa.12093 |