Chordal roots, Klangverwandtschaft, euphony and coherence : an approach to ostensibly 'atonal', 'non-tonal' or 'post-tonal' harmonic technique

Hollington, Barnaby Paul (2018) Chordal roots, Klangverwandtschaft, euphony and coherence : an approach to ostensibly 'atonal', 'non-tonal' or 'post-tonal' harmonic technique. Doctoral thesis (PhD), University of Sussex.

[img] PDF (Commentary) - Published Version
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[img] PDF (The Art of Thinking Clearly (2013, revised 2015) for solo piano (10’10”)) - Supplemental Material
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[img] PDF (Madame de Meuron (2016) for orchestra (20’40”)) - Supplemental Material
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[img] PDF (3. Velvet Revolution (2014) for large ensemble (9’25”)) - Supplemental Material
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[img] Other (3. Velvet Revolution (2014) for large ensemble (9’25”) Recording) - Supplemental Material
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[img] PDF (4. Nevermore (2015) for quintet (4’45”)) - Supplemental Material
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[img] Other (4. Nevermore (2015) for quintet (4’45”) Recording) - Supplemental Material
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[img] PDF (5. Nine Dragons (2015, revised 2017) for string orchestra (8’15”)) - Supplemental Material
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[img] PDF (6. Capriccio (2013, revised 2015) for solo violin (9’10”)) - Supplemental Material
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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.

Item Type: Thesis (Doctoral)
Schools and Departments: School of Media, Film and Music > Music
Subjects: M Music. Literature on music. Musical instruction and study > MT Musical instruction and study > MT0040 Composition. Elements and techniques of music > MT0050 Harmony
Depositing User: Library Cataloguing
Date Deposited: 24 Apr 2018 10:18
Last Modified: 24 Apr 2018 10:18
URI: http://sro.sussex.ac.uk/id/eprint/75394

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