Alfred Schnittke’s Triadic Practice

Segall, Christopher

doi:10.1215/00222909-4149606

Cited by 4 publications

(6 citation statements)

References 44 publications

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“…The second unit (beginning in bar 12) illustrates an S‐ and P‐related chain with consistent evolving triads based on the already‐established [0,1,4,7]. As noted by Segall (2013, p. 217), each new chord relates to the previous combination through S and P. My annotation shows that this unit starts with a single C triad, and the incomplete combinations in bars 14 and 17 function as part of a step‐by‐step formation of C–c♯–C♯–d, increasing the pc cardinality and dissonance level in a systematic way 30…”

Section: Subsets As Elements Of Initiationmentioning

confidence: 89%

“…The intact S relations in the third of Schnittke's Three Madrigals (1980) are identified by Christopher Segall (2013, p. 227 and 2017, p. 261), as shown in bar 18 of Ex. 1 (only the piano part is shown) 4 .…”

Section: Three Preliminary Examplesmentioning

confidence: 95%

“…The first part of the passage spans bars 6–11, and the second part starts in bar 12. Segall (2013, p. 217) has identified the S‐ and P‐related chords from bar 12 onwards, but he has disregarded the incomplete structures before and after bar 12. I focus on the initiating subsets at the beginning of each structural unit and their gradual completion with the prominence of C–c♯.…”

Section: Subsets As Elements Of Initiationmentioning

confidence: 99%

“…44The top line of this progression forms the BACH monogram in its original form, as acknowledged by Segall (2013, p. 227), and owing to parallel voice leading, the bottom line features a transposed version of it.…”

mentioning

confidence: 98%

“…22See Schnittke and Hansberger (1982), Antokoletz (1994), Lendvai (2000), Schick (2002), Segal (2013 and 2017), Bazayev (2014) and Honarmand (2019). …”

mentioning

confidence: 99%

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The Subsets of SLIDE‐ and Parallel‐Related Combinations in Twentieth‐Century Music

Honarmand¹

2023

Music Analysis

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In twentieth‐century music, not only do SLIDE and Parallel function as transformations between chords, but they also combine triads to form pitch‐class units from which many triadic and non‐triadic subsets are derived. By identifying these subsets, I illustrate the larger frameworks of the SLIDE and Parallel formulae and their unifying roles in the pitch‐class organisation of selected twentieth‐century pieces. After establishing the subset/superset identity, I reveal that the subsets serve two formal purposes, functioning as elements of initiation and closure in relation to the pitch‐class organisation of structural units. Moreover, I show how these subsets/supersets may engage in gradual processes and how they are tied to linear motions and correlative relations. To demonstrate these subsets’ extensive use, I provide examples from pieces written between the 1930s and the 1990s by nine European, North American and Russian composers: Britten, Cabena, Lutosławski, Martinů, Persichetti, Piston, Prokofiev, Schnittke and Shostakovich. I conclude my article by analysing a passage that incorporates all the properties discussed in the article.

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Section: Subsets As Elements Of Initiationmentioning

confidence: 89%

Section: Three Preliminary Examplesmentioning

confidence: 95%

Section: Subsets As Elements Of Initiationmentioning

confidence: 99%

mentioning

confidence: 98%

“…22See Schnittke and Hansberger (1982), Antokoletz (1994), Lendvai (2000), Schick (2002), Segal (2013 and 2017), Bazayev (2014) and Honarmand (2019). …”

mentioning

confidence: 99%

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The Subsets of SLIDE‐ and Parallel‐Related Combinations in Twentieth‐Century Music

Honarmand¹

2023

Music Analysis

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An Eightfold Taxonomy of Harmonic Progressions, and Its Application to Triads Related by Major Third and Their Significance in Recent Screen Music

Murphy¹

2023

Journal of Music Theory

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A hybridization of two recent innovations in music theory—a focus on the progression of two triads as a unitary analytical object, and a component-wise formation of a set of equivalence classes—brings together under one conceptual and labeling system eight different approaches to the classification of harmonic progression. A holistic adoption of these eight approaches, each already preexisting within music scholarship in some partial or complete form, affords precise and gradated statements regarding the styles, associative meanings, and hermeneutics of music for recent multimedia. To that end, this article pays particular attention to progressions of like-moded triads a major third apart, as demonstrated through analyses of music for the television series Bridgerton and the movie Ex Machina.

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Mixture Strategies

Alcalde

2022

MTO

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This article presents a framework to approach musical hybridity, which is understood generally as any combination of musical identities. The framework focuses on the concepts of mixture strategies—perceptible processes of interaction and manipulation of styles, genres, and other identity markers. Mixture strategies are recurrent treatments of disparate musical identities in hybrid music, and not only do they define what the materials are, they more fully explore how these entities are put together. There are four distinct mixture strategies—clash, coexistence, distortion, and trajectory—and each have peculiar characteristics and significations contingent on their use structurally and contextually. In the article I define and exemplify each of the four mixture strategies in composers from, or related to, the post-1960s polystylistic concert music such as Alfred Schnittke, George Rochberg, Sofia Gubaidulina, and Peter Maxwell Davies. In these works, hybridity itself is foregrounded, and articulates the musical discourse as much, and oftentimes more so, than other musical parameters. Thus, this repertory proves helpful to demonstrate a general framework that can, and should, be applicable to other hybrid repertories. As I discuss the mixture strategies, I will debate the potential interpretive tropes for each. Then, I apply these ideas in interpreting the entire second movement of Schnittke’s Concerto Grosso no. 1, a work that explores all four mixture strategies. The second movement is then contextualized within the entire concerto.

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Alfred Schnittke’s Triadic Practice

Cited by 4 publications

References 44 publications

The Subsets of SLIDE‐ and Parallel‐Related Combinations in Twentieth‐Century Music

The Subsets of SLIDE‐ and Parallel‐Related Combinations in Twentieth‐Century Music

An Eightfold Taxonomy of Harmonic Progressions, and Its Application to Triads Related by Major Third and Their Significance in Recent Screen Music

Mixture Strategies

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