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Olivier Messiaen's concept of tonalityDu Plessis, Stephen James 11 1900 (has links)
The dissertation identifies three types of tonality:
scalicfmodal, melodic, and harmonic. Scalic/modal
tonality and melodic tonality are known to have been
existent in Antiquity. Messiaen adheres to these
ancient types of tonality and also harmonic tonality.
Messiaen uses these types of tonality in his own
combinations -- his concept of tonality is revealed
to be highly complex. / Musicology / M.Mus. (Musicology)
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Olivier Messiaen's concept of tonalityDu Plessis, Stephen James 11 1900 (has links)
The dissertation identifies three types of tonality:
scalicfmodal, melodic, and harmonic. Scalic/modal
tonality and melodic tonality are known to have been
existent in Antiquity. Messiaen adheres to these
ancient types of tonality and also harmonic tonality.
Messiaen uses these types of tonality in his own
combinations -- his concept of tonality is revealed
to be highly complex. / Musicology / M.Mus. (Musicology)
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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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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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