勋伯格和李斯特:跨越大调性鸿沟的六声合集

IF 0.5 1区艺术学 0 MUSIC

MUSIC ANALYSIS Pub Date : 2018-07-01 DOI:10.1111/MUSA.12093

Joe Argentino

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引用次数: 2

摘要

本文探讨了李斯特和勋伯格的作品中的段落，这些段落共享多功能六音集合，可以在音调和声框架内，没有或介于两者之间。李斯特的清唱剧《圣斯坦尼斯劳斯》(1875)、勋伯格的《月光皮埃罗》(1912)、《现代诗篇》(Op. 50c)(1950)中以六重奏为基础的段落的基本和声结构几乎是相同的，尽管这些作品的体裁和创作时间截然不同。这些作品中的音乐之外的联系，其中崇高或超自然是由六边形对称所代表的，在这里检查的作品中反复出现。

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Schoenberg and Liszt: Hexatonic Collections across the Great Tonal Divide

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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来源期刊

MUSIC ANALYSIS MUSIC-

CiteScore

0.60

自引率

75.00%

发文量

期刊介绍： Music Analysis is the international forum for the presentation of new writing focused on musical works and repertoires. Through articles of this kind and through its lively Critical Forum, it also aims to take forward debates concerning the relationship of technical commentary on music with music theory, critical theory, music history and the cognitive sciences. Music Analysis is eclectic in its coverage of music from medieval to post-modern times, and has regular articles on non-western music. Its lively tone and focus on specific works makes it of interest to the general reader as well as the specialist.