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Schematic Deformation: Systematic Linearity in Grieg's ‘Takk’ and Other Lyric Pieces
Author(s) -
UTNEREITAN BJØRNAR
Publication year - 2021
Publication title -
music analysis
Language(s) - English
Resource type - Journals
SCImago Journal Rank - 0.25
H-Index - 18
eISSN - 1468-2249
pISSN - 0262-5245
DOI - 10.1111/musa.12165
Subject(s) - schematic , linearity , chromatic scale , schema (genetic algorithms) , harmony (color) , gratitude , deformation (meteorology) , computer science , linguistics , art , aesthetics , mathematics , psychology , visual arts , philosophy , geology , engineering , information retrieval , combinatorics , social psychology , electrical engineering , electronic engineering , oceanography
This article presents an analysis of Grieg's lyric piece ‘Takk’ (‘Gratitude’), focusing on the B section of the piece. In that section Grieg makes use of a harmonic progression that is difficult to explain vertically (i.e. in terms of functional harmony). However, it may be explained as a result of play with chromatic voice‐leading patterns. The progression in question – which is saturated with half‐diminished chords – shares several formal characteristics with the well‐known omnibus progression. It is thus argued that ‘Takk’ features a deformation of this chromatic voice‐leading schema. The progression in question (called x ) has the same sequential possibilities as the omnibus, which helps reveal an underlying logic in the complex structure of the piece's B section. Grieg's omnibus deformation in ‘Takk’ is an excellent example of how he chose to structure formal sections based on underlying systematic linearity. A comparison of ‘Takk’ with other lyric pieces sheds light on some regularities regarding systematic linearity in Grieg's music, for instance in the form of schematic deformation.

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