Developing Ogolevets's Doubly Augmented Prime: Semitonal Voice Leading in the Music of Shostakovich Page: 65
View a full description of this dissertation.
Extracted Text
The following text was automatically extracted from the image on this page using optical character recognition software:
CHAPTER 4
METHODOLOGY OF THE DAP AND ITS RESOLUTIONS
4.1 Introduction
As detailed in Chapter 2, scholars have described Shostakovich's compositional
techniques such as modal alterations, non-traditional voice leading procedures, and signature
devices that were unique to him. David Fanning expresses Shostakovich's style as "sometimes
tonal, sometimes modal, sometimes somewhere in between, and sometimes outside the bounds
of either [. . .] the stumbling block here usually concerns the question of mode."168 This style
described by Fanning creates a complex situation for analysis in which many techniques must be
used to explain Shostakovich's music. The ambiguity of mode is attributed to his use of
chromaticism within any given key signature. Chromaticism, then, is used by Shostakovich as an
endless line of pitches and harmonies with no restriction to one mode or scale (though it is often
useful to understand his chromatic language within some kind of tonal context). William Hussey
explains:
Symmetrical chromatic space in Shostakovich's music is not limited to his triadic
harmonic progressions, but also includes linear material commonly constructed of
stepwise chromatic motion [... .] Shostakovich's linear exploration of chromatic space
was often very straightforward, for a chromatic scale is symmetrical, realized through a
recurring pattern that does not define a key [... .] Depending upon rhythmic emphasis, the
same chromatic scale can fit in a tonal context without disrupting the tonality, or it can be
used to push the boundaries of that tonal context. The tonal disruption of chromatic
pitches outside of the key becomes more acceptable to the ear when presented withing a
coherent linear pattern.169
The discrepancy between modes and chromaticism, sometimes intertwined in Shostakovich's
168 David Fanning, 2006, "Introduction, Talking About Eggs: Musicology and Shostakovich," from Shostakovich
Studies, Ed. by David Fanning, Cambridge University Press, 8.
169 William Hussey, 2003, "Triadic Post-Tonality and Linear Chromaticism in the Music of Dmitri Shostakovich,"
Music Theory Online 9, no. 1, [5].65
Upcoming Pages
Here’s what’s next.
Search Inside
This dissertation can be searched. Note: Results may vary based on the legibility of text within the document.
Tools / Downloads
Get a copy of this page or view the extracted text.
Citing and Sharing
Basic information for referencing this web page. We also provide extended guidance on usage rights, references, copying or embedding.
Reference the current page of this Dissertation.
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/m1/76/: accessed July 17, 2024), University of North Texas Libraries, UNT Digital Library, https://digital.library.unt.edu; .