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Audacious EuphonyChromatic Harmony and the Triad's Second Nature$
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Richard Cohn

Print publication date: 2012

Print ISBN-13: 9780199772698

Published to Oxford Scholarship Online: May 2012

DOI: 10.1093/acprof:oso/9780199772698.001.0001

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PRINTED FROM OXFORD SCHOLARSHIP ONLINE (oxford.universitypressscholarship.com). (c) Copyright Oxford University Press, 2020. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in OSO for personal use. date: 24 November 2020

Mapping the Triadic Universe

Mapping the Triadic Universe

Chapter:
(p.1) Chapter One Mapping the Triadic Universe
Source:
Audacious Euphony
Author(s):

Richard Cohn

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780199772698.003.0001

Chapter 1 suggests that the eighteenth century gauge of triadic distance, based on diatonic proximity, may not be appropriate for all nineteenth century music. Tonally disjunct pairs of triads can be heard as conjunct on the basis of other systems of measurement. The chapter proposes two related systems, based on common tones and semitonal voice leading; the proposals are consistent with aspects of nineteenth century harmonic theory. The more general point is that a theory of nineteenth century harmony need not be based exclusively on classical conceptions of the harmonic universe. Precedents for this point are found in Fétis (1844) and Kurth (1920), and traced through more recent approaches to chromatic harmony. These adumbrations notwithstanding, no fully ramified theory of nineteenth century harmony has emerged to date; indeed, the various denominations of harmonic theory and their associated pedagogies continue to purvey the view that nineteenth century harmony is fundamentally rooted in principles of classical harmony. The chapter explores three reasons for this circumstance.

Keywords:   triadic distance, fétis, kurth, chromaticism, voice leading

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