Developing Ogolevets's Doubly Augmented Prime: Semitonal Voice Leading in the Music of Shostakovich Page: 8
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LIST OF MUSICAL EXAMPLES
Page
Example 1.1: Ogolevets's line of fifths in its original Russian. From "Foundations of Harmonic
L anguage" (1941, 34). .................................................................................................................... 6
Example 1.2: Interpretation of Ogolevets's line of fifths with seven, eight, and ten-tone mode
b rack ets . .......................................................................................................................................... 7
Example 1.3: Pitches from B minor (upper bracket) and C minor (lower bracket) in
Shostakovich's Dva Romansa, op. 84, I. "Ballada...................................................................9
Example 1.4: Shostakovich, Dva Romansa, op. 84, I. "Ballada," mm. 125-28............... 11
Example 1.5: Shostakovich, From Jewish Folk Poetry, op. 79, no. 4, mm. 1-12, soprano melody.
....................................................................................................................................................... 1 2
Example 1.6: Shostakovich, From Jewish Folk Poetry, op. 79, no. 4, mm. 81-84............. 12
Example 2.1: Yavorsky's Single and Double Symmetrical Systems....................... 19
Example 2.2: Yavorsky's diminished mode (octatonic collection)...........................................20
Example 2.3: Protopopov's six possible types of tritones. ........................................................22
Example 2.4: Converging duplex single system (Type I)............................................................. 22
Example 2.5: Converging duplex double system. .....................................................................23
Example 2.6: Duplex single and double systems.......................................................................23
Example 2.7: SLIDE and Tiftikidi function symbols in Shostakovich's Prelude in D-flat Major,
op. 34, no. 15, mm. 50-58. From Segall (2013, p. 205, Example 3.3.1)...................................... 34
Example 2.8: Dolzhansky's Three Common-Tonics recreated by Bazayev (2014, Example 9)....
....................................................................................................................................................... 4 3
Example 2.9: Dolzhansky's Three-Tonic Mode.......................................................................44
Example 2.10: Shostakovich, Symphony No. 6, movement I, mm. 26-28, from Dolzhansky. ... 45
Example 3.1: Ogolevets's line of fifths. From Ogolevets (1941, 34)........................................... 49
Example 3.2: Ogolevets's Expansion of the line of fifths. From Ogolevets (1941, 592)............. 50
Example 3.3: Five eight-tone modes from Ogolevets (1941, 344) that represent combinations of
diatonic m odes . ............................................................................................................................. 52vii
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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/m1/8/: accessed July 17, 2024), University of North Texas Libraries, UNT Digital Library, https://digital.library.unt.edu; .