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On Hexatonic Poles

On Hexatonic Poles DOI: 10.1111/musa.12063 In 2004 I published an article on hexatonic poles – my term for the relationship between E major and C minor triads – in which I showed that five German theorists, writing between 1887 and 1933, held the view that hexatonic poles destabilise the consonant status of one or both of their constituent triads. The following passage captures this historical view clearly: The ear hears in the first instance the leading-note energies that exist between the exchange tones and the chord tones. In this manner, structures frequently arise that are intensely dissonant but which by accident are enharmonically akin to triads [ . . . ]. When in the first act [of Parsifal] an A minor triad is placed between D major triads, it is actually a dissonance, for the A stands in for B as a neighbour note to A , while the E/C third is understood as lower leading notes to F/D . In a recent review of my 2012 article on Prokofiev’s Peter and the Wolf,J.P. E. Harper-Scott notes that my analysis develops the ideas of the 2004 paper, but nonetheless suggests that my hearing of hexatonic poles is ahistorical: ‘Cohn claims that for http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Music Analysis Wiley

On Hexatonic Poles

Music Analysis , Volume 35 (1) – Mar 1, 2016

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Publisher
Wiley
Copyright
Music Analysis © 2016 John Wiley & Sons Ltd
ISSN
0262-5245
eISSN
1468-2249
DOI
10.1111/musa.12063
Publisher site
See Article on Publisher Site

Abstract

DOI: 10.1111/musa.12063 In 2004 I published an article on hexatonic poles – my term for the relationship between E major and C minor triads – in which I showed that five German theorists, writing between 1887 and 1933, held the view that hexatonic poles destabilise the consonant status of one or both of their constituent triads. The following passage captures this historical view clearly: The ear hears in the first instance the leading-note energies that exist between the exchange tones and the chord tones. In this manner, structures frequently arise that are intensely dissonant but which by accident are enharmonically akin to triads [ . . . ]. When in the first act [of Parsifal] an A minor triad is placed between D major triads, it is actually a dissonance, for the A stands in for B as a neighbour note to A , while the E/C third is understood as lower leading notes to F/D . In a recent review of my 2012 article on Prokofiev’s Peter and the Wolf,J.P. E. Harper-Scott notes that my analysis develops the ideas of the 2004 paper, but nonetheless suggests that my hearing of hexatonic poles is ahistorical: ‘Cohn claims that for

Journal

Music AnalysisWiley

Published: Mar 1, 2016

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