Developing Ogolevets's Doubly Augmented Prime: Semitonal Voice Leading in the Music of Shostakovich Page: 31
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simplicity, and classicism.77 He claimed that Shostakovich was an "experienced navigator in the
seas of stylistic allusion" and could "encode hidden messages" due to the political climate of the
1930s.78 His use of C major also came from sources such as his own youth piano exercises,
favorite score excerpts (Stravinsky's Petrushka and Berg's Wozzeck), and as a blank canvas for a
"maelstrom of atonality."79
Because of his use of C major, Shostakovich could write less restrictively using all
twelve tones. Laurel Fay-who covers a multitude of Shostakovich's unique elements in his late
works within melody, harmony, rhythm, form, and sound-highlights his use of twelve-tone
rows in one voice and without the construction around one single row; there are no prime rows.80
Instead they are "linear constructions [... .] articulated at dramatic climaxes, rather than chord
progressions or series of simultaneities constituting a composite twelve-tone row." She discusses
the third movement of the Violin Sonata as an example of "fusion" between tonal and
dodecaphonic elements. Within the secondary theme, thirty-six pitches divide into three twelve-
tone rows, with a tonal hierarchy of a tonic G# and dominant D#. On Shostakovich's
contrapuntal style, Fay also observed an "overlapping or contradiction" of tonal functions,
"perceived on a linear level."81
7 Fanning (2001), 104-08.
78 Ibid., 108. Fanning refers to the political climate during that period based on the understanding that Shostakovich
was under a great deal of pressure from Socialist Realism; see pp. 113-17. For more about this political pressure as
well as its impact on Shostakovich's music, see Richard Taruskin, 2020, Defining Russia Musically: Historical and
Hermeneutical Essays, Princeton University Press, 468-97; Judith Kuhn, 2010, "Introduction," from Shostakovich
in Dialogue: Form, Imagery, and Ideas in Quartets 1-7. Burlington, VA, Ashgate Publishing, 1-14; and Pauline
Fairclough, 2002, "The 'Perestroyka' of Soviet Symphonism: Shostakovich in 1935," Music & Letters 83, no. 2:
259-73.
79Ibid., 119.
80 Laurel Fay, 1978, The Last Quartets of Dmitri Shostakovich: A Stylistic Investigation, PhD diss., Cornell
University, 67-68; 71.
81 Ibid., 93.31
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Hatch, Amy M. Developing Ogolevets's Doubly Augmented Prime: Semitonal Voice Leading in the Music of Shostakovich, dissertation, May 2022; Denton, Texas. (https://digital.library.unt.edu/ark:/67531/metadc1944286/m1/42/: accessed July 17, 2024), University of North Texas Libraries, UNT Digital Library, https://digital.library.unt.edu; .