English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools annual

Global: Zendy Free Plan

Global: Zendy Tools monthly

Global: Zendy Plus monthly

This paper examines the influence of harmonic language on the narrative processes in post-tonal music. The main assumption is that the phenomenon of mediation, expounded on by David Lidov on the examples of music of Classicism and Romanticism, is quite similarly manifested when the major-minor system is suspended. Mediation, according to Lidov, implies cancelling opposition or blurring opposed semantic categories, which can be achieved by various music means. In music that emerged after the suspension of tonality, especially in authors who have not opted exclusively for either of the two opposed ways of harmonic thinking, the tonal or the atonal, harmonic language remains a significant factor in generating narratives. They play a key role in forming transitional categories between contrasting meanings within a binary opposition, that is to say, in emphasising the process of mediation. Departing from these views, the paper analyses the role of specific manifestations of the tonal vertical in forming meaning in the second movement of Music for String Instruments, Percussion and Celesta by Béla Bartók (1881-1945).

Harmonic language as a generator of mediation between contrasting meanings in the post-tonal context