Chapter 1: Transcultural Modernism

To download all of the examples in this chapter as a PDF for printing click here. PDF download instructions here.

Contents

Example 1.1a | Example 1.1b | Example 1.2 | Example 1.3 | Example 1.4 | Example 1.5a | Example 1.5b | Example 1.6 | Example 1.7 | Example 1.8 | Example 1.9a | Example 1.9b | Example 1.9c | Example 1.10 | Example 1.11a | Example 1.11b | Table 1.2

Example 1.1

(a) Modernism from above: RH9, finale, mm. 340–81 (reduction with inserted repeat signs)


(b) Modernism from below: RH9, finale, mm. 270–91 (repeat signs inserted)

Back to top

Example 1.2

Stravinsky, Petrushka, “Danse russe,” mm. 118–27 (reduction of the solo piano version). © Boosey & Hawkes Music Publishers Ltd. Reproduced with permission

Back to top

Example 1.3

RH7, mm. 3–20. The upper stave represents the basic “widely arched” melody, broken down into numerous self-enclosed and highly ornamented phrases.

Back to top

Example 1.4

RH 7, textural reduction of mm. 105–84 (repeats of each half-phrase omitted).

Back to top

Example 1.5

Two excerpts from the “Wallachian Melody” in MRh20:

(a) mm. 99–106;

(b) mm. 151–58

Back to top

Example 1.6

Harmonic reduction of the Csendes magyar based on Lajtha, Széki gyujtés, 54–65.

Back to top

Example 1.7

Frissen (1826), MnVv No. 70.

Back to top

Example 1.8

Three tonal readings of example 1.7

Back to top

Example 1.9

Dissonances and drone-based harmonization derived from verbunkos in:

(a) Haydn, Piano Concerto in D minor, Hob. XVIII:11 (1784), third movement, mm. 186–89;


(b) Schubert, Divertissement à la hongroise, D. 818 (1825), third movement , mm. 41–67
(primo and secondo parts reduced to single staves);


(c) Liszt, RH12 (1851), mm. 7–10

Back to top

Example 1.10

(a) Association of the verbunkos minor scale with the
(b) ‘German’ 6/5 chord and
(c) ‘French’ 4/3 chord

Back to top

Example 1.11

Keyboard-based polychordal effects in RH10:

(a) mm. 86–88;


(b) mm. 104–7 (m. 108 omitted: repeats m. 107)

Back to top

Table 1.2

Liszt’s “folkloristic” [verbunkos-related] scales according to Lajos Bárdos (1968). The terms and abbreviations used in this book are presented in the two left columns and scales common in Liszt’s oeuvre are marked with an asterisk.

Scale 1,
Scale 2,
Scale 3,
Scale 4.

Scale 5,
Scale 6,
Scale 7,
Scale 8.

Scale 9,
Scale 10,
Scale 11,
Scale 12,
Scale 13.

Back to top

Instructions for downloading and reading a PDF document.

Right click the download link and select “Save link as”. Select the folder in to which you would like to download the PDF and click “Save”. You may now locate the file on your computer hard drive and double click on it to open. In the event the file does not open, you need to install PDF reading software like Adobe Reader. To download all of the examples in this chapter as a PDF for printing click here.

Back to top