Use this URL to cite or link to this record in EThOS: https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.742145
Title: Chordal roots, Klangverwandtschaft, euphony and coherence : an approach to ostensibly 'atonal', 'non-tonal' or 'post-tonal' harmonic technique
Author: Hollington, Barnaby Paul
ISNI:       0000 0004 7227 019X
Awarding Body: University of Sussex
Current Institution: University of Sussex
Date of Award: 2018
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Abstract:
My harmonic approach is founded on two premises, pertaining especially to chordal spacing. First, that for each of the 4,096 possible sets of pitch-classes within equal temperament, without exception, certain spacing principles and techniques, if consistently applied, will generate clear, or relatively clear chordal roots. Typically, the resulting sonorities will possess more than one root – that is, be heard as polychords. Second, that one may control the level of inherent sensory dissonance of any given set of pitch-classes, presented as a chord, through register. These two factors combine to induce both harmonic coherence and euphony. For most listeners, rightly or wrongly, these are not qualities normally associated with music written using the 4,096 – that is, ostensibly ‘atonal', ‘non-tonal' or ‘post-tonal' music. Through my harmonic method, since chordal roots are consistently clarified, one may compose progressions of chordal roots – an asset on which the coherence of diatonic tonality also fundamentally depends. Within a non-diatonic context, the expressive and technical consequences are far-reaching. The following textual commentary demonstrates all of the above, supported by analyses of numerous musical extracts. These are drawn primarily from four of the compositions included in the portfolio – Madame de Meuron, The Art of Thinking Clearly, Velvet Revolution and Nevermore.
Supervisor: Not available Sponsor: Not available
Qualification Name: Thesis (Ph.D.) Qualification Level: Doctoral
EThOS ID: uk.bl.ethos.742145  DOI: Not available
Keywords: MT0050 Harmony
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