Cristin-resultat-ID: 1911362
Sist endret: 20. september 2021, 09:22
NVI-rapporteringsår: 2021
Resultat
Vitenskapelig artikkel
2021

Schematic Deformation: Systematic Linearity in Grieg’s ‘Takk’ and Other Lyric Pieces

Bidragsytere:
  • Bjørnar Utne-Reitan

Tidsskrift

Music Analysis
ISSN 0262-5245
e-ISSN 1468-2249
NVI-nivå 2

Om resultatet

Vitenskapelig artikkel
Publiseringsår: 2021
Publisert online: 2021
Trykket: 2021
Volum: 40
Hefte: 2
Sider: 227 - 252

Importkilder

Scopus-ID: 2-s2.0-85106303996

Klassifisering

Vitenskapsdisipliner

Musikkteori • Musikkvitenskap

Emneord

Harmonisk analyse • Musikkanalyse • 1800-tallet • Edvard Grieg

Beskrivelse Beskrivelse

Tittel

Schematic Deformation: Systematic Linearity in Grieg’s ‘Takk’ and Other Lyric Pieces

Sammendrag

This article presents an analysis of Grieg's lyric piece ‘Takk’ (‘Gratitude’), focusing on the B section of the piece. In that section Grieg makes use of a harmonic progression that is difficult to explain vertically (i.e. in terms of functional harmony). However, it may be explained as a result of play with chromatic voice-leading patterns. The progression in question – which is saturated with half-diminished chords – shares several formal characteristics with the well-known omnibus progression. It is thus argued that ‘Takk’ features a deformation of this chromatic voice-leading schema. The progression in question (called x) has the same sequential possibilities as the omnibus, which helps reveal an underlying logic in the complex structure of the piece's B section. Grieg's omnibus deformation in ‘Takk’ is an excellent example of how he chose to structure formal sections based on underlying systematic linearity. A comparison of ‘Takk’ with other lyric pieces sheds light on some regularities regarding systematic linearity in Grieg's music, for instance in the form of schematic deformation.

Bidragsytere

Bjørnar Utne-Reitan

  • Tilknyttet:
    Forfatter
    ved Fagseksjon for musikkpedagogikk og musikkterapi ved Norges musikkhøgskole
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