{"title":"Examining Keyboard Bitonality in the Middle-Period Music of Karol Szymanowski","authors":"A. Reese","doi":"10.1093/mts/mtaa007","DOIUrl":null,"url":null,"abstract":"\n A characteristic technique of Karol Szymanowski’s middle-period style (1914–18) is “keyboard bitonality”: the juxtaposition of the black-key pentatonic and white-key diatonic scales. To explore Szymanowski’s treatment of keyboard bitonality, I introduce the scalar alignment network, a biscalar landscape of all possible pairings of black- and white-key pitch classes that highlights the effects of a particular alignment, such as the resultant pitch-class pairings and intervallic patterns. To accomplish this, I employ a variety of transformational tools, including diatonic transpositions, Julian Hook’s (2007) interscalar transformations, and what I call SHIFT transformations. Analyzed works include: Masks (1916), Métopes (1915), Myths (1915), Twelve Etudes (Op. 33, 1916), and Violin Concerto No. 1 (1916).","PeriodicalId":44994,"journal":{"name":"MUSIC THEORY SPECTRUM","volume":" ","pages":""},"PeriodicalIF":1.6000,"publicationDate":"2020-05-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/mts/mtaa007","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"MUSIC THEORY SPECTRUM","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1093/mts/mtaa007","RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"MUSIC","Score":null,"Total":0}
引用次数: 0
Abstract
A characteristic technique of Karol Szymanowski’s middle-period style (1914–18) is “keyboard bitonality”: the juxtaposition of the black-key pentatonic and white-key diatonic scales. To explore Szymanowski’s treatment of keyboard bitonality, I introduce the scalar alignment network, a biscalar landscape of all possible pairings of black- and white-key pitch classes that highlights the effects of a particular alignment, such as the resultant pitch-class pairings and intervallic patterns. To accomplish this, I employ a variety of transformational tools, including diatonic transpositions, Julian Hook’s (2007) interscalar transformations, and what I call SHIFT transformations. Analyzed works include: Masks (1916), Métopes (1915), Myths (1915), Twelve Etudes (Op. 33, 1916), and Violin Concerto No. 1 (1916).
Karol Szymanowski中期风格（1914–18）的一个特色技巧是“键盘双调”：黑键五声音阶和白键全音音阶的并置。为了探索Szymanowski对键盘对偶性的处理，我引入了标量对齐网络，这是一种黑键和白键音高类的所有可能配对的双标量景观，它突出了特定对齐的效果，例如由此产生的音高类配对和价格模式。为了实现这一点，我使用了各种转换工具，包括全音转座、Julian Hook（2007）的标量间转换，以及我所说的SHIFT转换。分析作品包括：《面具》（1916年）、《Métopes》（1915年），《神话》（1915），《十二首练习曲》（作品331916年）和《第一小提琴协奏曲》（1916年）。
期刊介绍：
A leading journal in the field and an official publication of the Society for Music Theory, Music Theory Spectrum features articles on a wide range of topics in music theory and analysis, including aesthetics, critical theory and hermeneutics, history of theory, post-tonal theory, linear analysis, rhythm, music cognition, and the analysis of popular musics. The journal welcomes interdisciplinary articles revealing intersections with topics in other fields such as ethnomusicology, mathematics, musicology, philosophy, psychology, and performance. For further information about Music Theory Spectrum, please visit the Society for Music Theory homepage.
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