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PROLONGATION OF HARMONIES RELATED TO THE HARMONIC SERIES IN EARLY POST-TONAL MUSIC

PROLONGATION OF HARMONIES RELATED TO THE HARMONIC SERIES IN EARLY POST-TONAL MUSIC The present paper cludes an argument for a qualified rehabilitation of the harmonic series as an entity relevant to music theory and analysis.5 More specifically, I shall focus on such early post-tonal music which, while havg abandoned the triad as its basis, would seem to be illumated by allowg for properties that derive from a relationship between harmony and the harmonic series.6 I shall analyze four works from around 1910, Scriab’s Vers la flamme, Berg’s song op. 2, no. 2, Debussy’s Voiles, and Webern’s song op. 3, no. 1, suggestg that a central position their organization is granted to harmonies that consist of pitches approximatg those the harmonic series up to the eleventh harmonic; see chord A and its subsets P, Q, and U Example 1 below. I shall argue that these works (or parts thereof ) such harmonies not only occur as foreground sonorities but also become referential for prolongational organization more or less analogous to the Schenkerian conce of triadic prolongation. To lay groundwork for the analyses, I consider first the correspondence between musical harmony and the harmonic series from a perceual viewpot and then set out the theoretical prciples applied the analyses. The prciples of http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Music Theory Duke University Press

PROLONGATION OF HARMONIES RELATED TO THE HARMONIC SERIES IN EARLY POST-TONAL MUSIC

Journal of Music Theory , Volume 46 (1-2) – Jan 1, 2002

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Publisher
Duke University Press
Copyright
Copyright 2002 by Yale University
ISSN
0022-2909
eISSN
1941-7497
DOI
10.1215/00222909-46-1-2-207
Publisher site
See Article on Publisher Site

Abstract

The present paper cludes an argument for a qualified rehabilitation of the harmonic series as an entity relevant to music theory and analysis.5 More specifically, I shall focus on such early post-tonal music which, while havg abandoned the triad as its basis, would seem to be illumated by allowg for properties that derive from a relationship between harmony and the harmonic series.6 I shall analyze four works from around 1910, Scriab’s Vers la flamme, Berg’s song op. 2, no. 2, Debussy’s Voiles, and Webern’s song op. 3, no. 1, suggestg that a central position their organization is granted to harmonies that consist of pitches approximatg those the harmonic series up to the eleventh harmonic; see chord A and its subsets P, Q, and U Example 1 below. I shall argue that these works (or parts thereof ) such harmonies not only occur as foreground sonorities but also become referential for prolongational organization more or less analogous to the Schenkerian conce of triadic prolongation. To lay groundwork for the analyses, I consider first the correspondence between musical harmony and the harmonic series from a perceual viewpot and then set out the theoretical prciples applied the analyses. The prciples of

Journal

Journal of Music TheoryDuke University Press

Published: Jan 1, 2002

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