[Footnotes]

[Footnotes]
1
Ernst Kurth, Romantische Harmonik und ihre Krise in Wagners "Tristan" (Berlin, 1923). See especially pp. 183- 228
Kurth
183
Romantische Harmonik und ihre Krise in Wagners "Tristan"
1923
James M. Baker, Alexander Scriabin: The Transition from Tonality to Ato- nality (Ph.D. diss., Yale University, 1977)
Allen Forte, "Schoenberg's Creative Evolution: The Path to Atonality," Musical Quarterly 64 (1978), 133- 7610.2307/741443
133
2
"Ein solcher Mensch ist nicht mehr ein Künstler, sondern bald etwas Grösseres: ein Prophet"
Arnold Schoenberg, "Franz Liszts Werk und We- sen," Allgemeine Musik-Zeitung 38 (1911), 1009-13
Schoenberg
1009
38
Allgemeine Musik-Zeitung
1911
Style and Idea, ed. Leonard Stein (New York, 1975), 442-47
Stein
442
Style and Idea
1975
Béla Barték, "Liszt zenéje és a mai közön- ség," Népmüvelés (Budapest), 1911
Barték
Nipmüvelés
1911
"Liszt's Music and Our Contemporary Public," New Hun- garian Quarterly 2 (1961), 5-8
Barték
5
2
New Hungarian Quarterly
1961
Liszt's "almost fanatical striving for what is new and rare" (p. 6)
Liszt
6
Almost fanatical striving for what is new and rare
3
Baker, Scriabin Robert P. Morgan, "Dissonant Prolonga- tions: Theoretical and Compositional Precedents," Journal of Music Theory 20 (1976), 49-9110.2307/843604
49
R. Larry Todd, "Liszt, Fantasy and Fugue for Organ on 'Ad nos, ad salutarem un- dam'," this journal 4 (1981), 250-6110.2307/746698
250
Paul Wilson, "Con- cepts of Prolongation and Bartók's Opus 20," Music Theory Spectrum 6 (1984), 78-8910.2307/745804
78
4
Heinrich Schenker, Neue Musikalische Theorien und Phantasien, Band I: Har- monielehre (Stuttgart and Berlin, 1906), pp. 94, 139, 403
Schenker
94
Neue Musikalische Theorien und Phantasien, Band I: Harmonielehre
1906
David Damschroder, The Struc- tural Foundations of "The Music of the Future" (Ph.D. diss., Yale University, 1981)
6
Danckert, "Liszt als VorlÄufer des musikalischen Impressionismus," Die Musik 21 (1928- 29), 341-44
Danckert
341
21
Die Musik
1928
William Yeomans, "The Late Piano Works of Liszt," Monthly Musical Record 79 (1949), 31-37
Yeomans
31
79
Monthly Musical Record
1949
René Leibowitz, L'Evolution de la musique de Bach á Schoenberg (Paris, 1951), ch. 7
Leibowitz
ch. 7
L'Evolution de la musique de Bach á Schoenberg
1951
"Les Prophéties de Franz Liszt"; Humphrey Searle, "Liszt's Final Period (1860- 1886)," Proceedings of the Royal Music Association 78 (1951-52), 67-8110.2307/766047
67
7
Bengt Johnsson, "Modernities in Liszt's Works," Svensk Tidskrift för Mu- sik-Forskning 46 (1964), 83-117
Johnsson
83
46
Svensk Tidskrift för Musik-Forskning
1964
8
Lajos Bardos, "Ferenc Liszt, the Innovator," Studia Mu- sicologica 17 (1975), 3-3810.2307/902088
3
"Die volksmusikalischen Tonleitern bei Liszt," in Franz Liszt: Beiträge von ungaris- chen Autoren, ed. Klara Hamburger (Budapest, 1978)
Hamburger
Die volksmusikalischen Tonleitern bei Liszt
Franz Liszt: Beiträge von ungarischen Autoren
1978
Zoltan Gardonyi, "Neue Tonleiter- Sequenztypen in Liszts Frühwerken," Studia musicologica 11 (1969), 169-9910.2307/901277
169
Liszt," five are reducible to set class 7-32
Liszt
7
Five are reducible to set class
Stravinsky's Rite of Spring
Stravinsky
Rite of Spring
9
on p. 67 of Bence Szabolcsi, The Twilight of Ferenc Liszt (Budapest, 1959)
Szabolcsi
67
The Twilight of Ferenc Liszt
1959
10
Heinrich Schenker, Free Composition, trans. and ed. Ernst Oster (New York, 1979)
Schenker
Free Composition
1979
Allen Forte, The Structure of Atonal Music (New Haven and London, 1973)
Forte
The Structure of Atonal Music
1973
11
Serge Gut, Franz Liszt: Elements du langage musical (Paris, 1975)
Gut
Franz Liszt: Elements du langage musical
1975
12
Donald Jay Grout, A History of Western Mu- sic, 3rd edn. with Claude V. Palisca (New York, 1980), p. 583
Grout
3
583
A History of Western Music
1980
13
Todd, "Liszt, Fantasy and Fugue," in which the author points out long-range relations involving the diminished triad
Todd
Liszt, Fantasy and Fugue
14
Kurth (Romantis- che Harmonik, p. 412)
Kurth
412
Romantische Harmonik
15
Robert P. Morgan ("Dissonant Prolongations")
Morgan
Dissonant Prolongations
Gregory Proctor, Technical Bases of Nineteenth-Century Chromatic Tonality: A Study in Chro- maticism (Ph.D. diss., Princeton University, 1978)
16
"Franz Liszt und die Vorgeschichte der Neuen Musik," Neue Zeitschrift für Musik 122 (1961), 387-91
387
122
Neue Zeitschrift für Musik
1961
Between Romanticism and Modernism: Four Stud- ies in Music of the Later Nineteenth Century, tr. Mary Whittall (Berkeley and Los Angeles, 1980), pp. 46-47
Whittall
46
Between Romanticism and Modernism: Four Studies in Music of the Later Nineteenth Century
1980
17
Janet Schmalfeldt, Berg's Wozzeck: Harmonic Language and Dramatic Design [New Haven and London, 1983], p. 87
Schmalfeldt
87
Berg's Wozzeck: Harmonic Language and Dramatic Design
1983
Bartök, Fourteen Bagatelles, op. 6
Bartök
6
Fourteen Bagatelles
James E. Woodward, "Understanding Bartök's Bagatelle, Op. 6/9," Indiana Theory Review 4 [1981], 11-32)
Woodward
11
4
Indiana Theory Review
1981
Stravinsky, The Rite of Spring
Stravinsky
The Rite of Spring
Allen Forte, The Harmonic Organization of The Rite of Spring [New Haven and London, 1978], p. 104)
Forte
104
The Harmonic Organization of The Rite of Spring
1978
Scriabin, So- nata No. 7 ("White Mass"), upper voice of mm. 1-3. Set 4-18
18
Morgan ("Dissonant Prolongations")
Morgan
Dissonant Prolongations
Todd ("Liszt, Fantasy and Fugue")
Todd
Liszt, Fantasy and Fugue
Howard Cinnamon, "Tonal Structure and Voice-Leading in Liszt's 'Blume und Duft' " In Theory Only 6 (1982), 12-24
Cinnamon
12
6
Theory Only
1982
Edwin Hantz, "Motivic and Structural Unity in Liszt's 'Blume und Duft'," In Theory Only 6 (1982), 3-11
Hantz
3
6
Theory Only
1982
19
Istvan Szelenyi, "Der unbekannte Liszt," Studia mu- sicologica 5 (1963), 311-3110.2307/901551
311
tetra- chords, p. 314
Lina Ramann, Lisztiana; Erinnerungen an Franz Liszt (1873- -1886)
Ramann
Lisztiana; Erinnerungen an Franz Liszt (1873-1886)
Mainz, 1983), pp. 317-18
20
Forte, Structure, ex. 43.
Forte
Structure
Harmonic Organization, ex. 54
Forte
Harmonic Organization
21
Pieter C. van den Toorn, The Music of Igor Stravinsky (New Haven and London, 1983), pp. 48-60
Toorn
48
The Music of Igor Stravinsky
1983
22
"the home chord,... the Urklang, is an augmented triad" (p. 11)
23
George Perle's analysis of Webern's Five Pieces for String Quartet, op. 5, no. 4, in Serial Composition and Atonality, 2nd edn. (Berkeley and Los Angeles, 1968), p. 16
Perle
2
analysis of Webern's Five Pieces for String Quartet
16
Serial Composition and Atonality
1968
24
László Somfai, "Die Metamorphose der 'Faust-Sym- phonie' von Liszt," Studia musicologica 5 (1961), 283-9310.2307/901548
283
"the first known dodecaphonic melody in music history" (p. 286)
Fred Ritzel in "Mate- rialdenken bei Liszt: eine Untersuchung des 'Zwölftonthe- mas' der Faust-Symphonie," Die Musikforschung 20 (1967), 289-94
Ritzel
289
20
Die Musikforschung
1967
25
Paul F. Wilson, "Atonal- ity and Structure," p. 164
Wilson
164
Atonality and Structure
Ode to Napoleon, op. 41 (1942)
41
Ode to Napoleon
1942
26
Sza- bolcsi in Twilight. p. 68ff
Szabolcsi
68
Twilight
Humphrey Searle in The New Grove
Searle
The New Grove
Leipzig: C. F. Kahnt, n. d.; repr. in Franz Liszt, Six Psalms [1864-81]
Gregg International Publishers, Ltd., En- gland, 1972
vol. IX of the collected works in 1927
Trauer-Vorspiel and La lugubre Gondola (1887 and 1886
Trauer-Vorspiel and La lugubre Gondola
1887
27
Forte, Structure, pp. 24-28
Forte
24
Structure
28
Forte, Structure, pp. 3-5
Forte
3
Structure
31
Dieter Rexroth, "Zum SpÄtwerk Franz Liszts: Mate- rial und Form in dem Klavierstüick 'Unstern'," in Interna- tionaler Musikwissenschaftlicher Kongress, ed. Carl Dalhaus et al. (Kassel, 1971), 544-46
Rexroth
Zum Spitwerk Franz Liszts: Material und Form in dem Klavierstüick 'Unstern
544
Internationaler Musikwissenschaftlicher Kongress
1971
John Ogdon, "Solo Piano Music (1861-86)," in Franz Liszt: The Man and His Music, ed. Alan Walker (London, 1970), pp. 140-65
Ogdon
Solo Piano Music (1861-86)
140
Franz Liszt: The Man and His Music
1970
32
Forte, Structure, 73-82
Forte
73
Structure
33
Paul Wilson ("Atonality and Structure," p. 186)
Wilson
186
Atonality and Structure
Bartök's op. 18, no. 3
18
34
Sandor Kovacs, "Form Prinzipien und Ungarische Sti- leigentümlichkeiten in den SpÄtwerken von Liszt," in Liszt-Studien 2, ed. Serge Gut (Munich- Salzburg, 1981 ), pp. 114-22
Kovacs
2
Form Prinzipien und Ungarische Stileigentümlichkeiten in den SpÄtwerken von Liszt
114
Liszt-Studien
1981
"Zentraltöne" E and Fin Unstern
Zentraltöne
E and Fin Unstern
35
Forte, Structure, pp. 96-100
Forte
96
Structure
36
Années de Pélerinage II, 1838, in which 4-23
4
Années de PËlerinage II
1838
Leon Plantinga, Ro- mantic Music [New York, 1984], pp. 186-88
Plantinga
186
Romantic Music
1984
37
Années de Pélerinage III, 1872) bears the subtitle "en mode hongroise," a reference to the "Hungarian" scale, 7-22
Années de Pélerinage III
7
En mode hongroise
1872
38
Berg's Wozzeck, this set under- lies the subject of the LÄndler, act II, sc. 4, m. 412ff
39
Szabolcsi, Twilight, Grout, History (see fn. 12)
Szabolcsi
History
Jim Sam- son includes a discussion of Nuages gris in his Music in Transition (New York, 1977)
Samson
Nuages gris
Music in Transition
1977
p. 17
"Tonal Organization in Selected Late Piano Works of Franz Liszt," in Liszt-Studien, ed. Serge Gut (Munich, 1981)
Gut
Tonal Organization in Selected Late Piano Works of Franz Liszt
Liszt-Studien
1981
40
Lawrence Kramer, "The Mirror of Tonality: Transi- tional Features of Nineteenth-Century Harmony," this journal 4 (1981), 191-208 for a different view of the unusual ending of this work (pp. 205-06)10.2307/746694
191
41
Harold A. Thompson, The Evolution of Whole-Tone Sound in Liszt's Original Piano Works (Ph.D. diss., Louisi- ana State University, 1974).
42
C[arl] F[riedrich] Weitzmann, Die Neue Harmonie im Streit mit der Alten (Leipzig, 1861)
Weitzmann
Die Neue Harmonie im Streit mit der Alten
1861
Norbert Nagler, "Die verspÄitete Zukunftsmusik," in Musik-Konzepte 12: Franz Liszt, ed. Heinz-Klaus Metzger and Rainer Riehn (Munich, 1980), pp. 25-36
Nagler
Die verspÄitete Zukunftsmusik
25
Musik-Konzepte 12: Franz Liszt
1980
Dieter Torkewitz, Harmonisches Denken im Frühwerk Franz Liszts (Munich-Salzburg, 1978)
Torkewitz
Harmonisches Denken im Frühwerk Franz Liszts
1978
Diether de la Motte, Harmonielehre (Kassel, 1976)
Motte
Harmonielehre
1976
pp. 237-48
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