Schoenberg and Liszt
Hexatonic Collections across the Great Tonal Divide
Bibliographic Data
| ID | 11445690 |
|---|---|
| Authors | JOE ARGENTINO (corresponding author) |
| Year | 2018 |
| Volume | 37 |
| Issue | 2 |
| Pages | 184-202 |
| Publication date | 2018-07-01 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Music Analysis (JOURNAL) |
| Journal identifiers | ISSN: 0262-5245 • E-ISSN: 1468-2249 |
| Publisher | Wiley (PUBLISHER • GB) |
| DOI | 10.1111/musa.12093 |
| OpenAlex | W2744232526 |
| Language | EN |
| Citations received | 1 |
| References cited | 12 |
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
Acoustics · Art · Harmonic · Literature · Musical · Oratorio · Physics · Sublime · Music Technology and Sound Studies · Musicology and Musical Analysis · Neuroscience and Music Perception
Audacious EuphonyChromatic Harmony and the Triad's Second Nature
St. Stanislaus. Scene 1, Two Polonaises, Scene 4
Maximally Smooth Cycles, Hexatonic Systems, and the Analysis of Late-Romantic Triadic Progressions
Tripartite Structures in Schoenberg'sA Survivor from Warsaw
Conceptualising Expressive Chromaticism in Liszt's Music
The Librettos for Liszt's Oratorio 'St Stanislaus
| Citations per year | 0.33 |
|---|---|
| Citation span | 2023 - 2023 (1) |
| Highly cited | No |