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The Global ETD Search service is a free service for researchers
to find electronic theses and dissertations. This service is
provided by the
Networked Digital Library of Theses and Dissertations.
Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
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Showing 1 to 2 of 2 (0.095 seconds)Spelling suggestions: "subject:"chord off addition"" "subject:"chord oof addition""
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Expanded tonality in three early piano works of Béla Bartók (1881-1945)Brukman, Jeffrey James 11 1900 (has links)
Bart6k's own expanded tonal ("supradiatonic") pronouncements reveal that his music,
notwithstanding tonally camouflaging surface details, clearly had a tonal foundation
which in many respects is a reaction to the emerging atonalism of Schonberg.
Analysis of three piano works (1908 - 1916) reveal that Bart6k's tonal language
embraced intuitively the expanded tonal idiom. The harmonic resources Bart6k
employed to obscure tonicisation embrace double-degree constructions, quartal
formations, chords of addition and omission and other irregular constructions.
Diatonic tonal pillars are evident in pedal points, tonic triads and dominant to tonic
root movement. Through an application of the Riemann function theory expanded by
Hartmann's supposition of fully-chromaticised scales tonal syntax (especially secondphase
Strauss cadences or closes) becomes apparent within an expanded tonal product.
The analyses conclude that Bart6k's inimitable "sound-world" is a twentieth-century
manifestation of traditional tonality's primary tenets. / Musicology / M.Mus.
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| 2 |
Expanded tonality in three early piano works of Béla Bartók (1881-1945)Brukman, Jeffrey James 11 1900 (has links)
Bart6k's own expanded tonal ("supradiatonic") pronouncements reveal that his music,
notwithstanding tonally camouflaging surface details, clearly had a tonal foundation
which in many respects is a reaction to the emerging atonalism of Schonberg.
Analysis of three piano works (1908 - 1916) reveal that Bart6k's tonal language
embraced intuitively the expanded tonal idiom. The harmonic resources Bart6k
employed to obscure tonicisation embrace double-degree constructions, quartal
formations, chords of addition and omission and other irregular constructions.
Diatonic tonal pillars are evident in pedal points, tonic triads and dominant to tonic
root movement. Through an application of the Riemann function theory expanded by
Hartmann's supposition of fully-chromaticised scales tonal syntax (especially secondphase
Strauss cadences or closes) becomes apparent within an expanded tonal product.
The analyses conclude that Bart6k's inimitable "sound-world" is a twentieth-century
manifestation of traditional tonality's primary tenets. / Musicology / M.Mus.
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