The Style-Generating Role of Texture in the Music of Robert Schumann (on the Example of his Piano Compositions)
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Abstract
The article researches the particularities of textural organization of the harmony in the musical compositions of Robert Schumann. The process of individualization of the means of musical expressivity, taking place during the course of the entire 19th century, found its reflection in the means of textural solutions. The novelty of Schumann’s style consists not in invention of new harmonies, but in the interaction of the harmonic development with the peculiarities of texture and metro-rhythmic elements. At that, a brilliant indicator turns out to be the polyphonization of the harmonic texture by means of its metro-rhythmic individualization of the voices and the melodic-intonational techniques.
One of the features of innovation Schumann’s innovation is characterized by the incorporation into the harmony of an additional or inculcating tone adjoining the chord tone from below and presenting a dissonant pitch in the chord’s tertial structure. Schumann’s music is also characterized by its technique of “collision” of the chordal and the lower chromatically neighboring tone. The principle of the semitone relationship of pitches also includes the technique of simultaneous combination of various pitch forms of one and the same scale degree. In the conditions of polyphonization of harmonic texture a collision of the dissonant tone not only with the chordal tone, but also with its diatonic antipode. Many of Schumann’s compositions are characterized by metric nonconcurrence of separate strata of the homophonic facture, which occasionally result in a simultaneous sounding of various different forms of the selfsame scale degree. Special significance in Schumann’s music is acquired by such discordant tones which turn out to be prolonged from the previous chord. Thereby, we may presume that in Schumann’s music the foundations of chordal structures of 20th
century music begin to be formed.
Keywords: chord, texture, non-chordal sounds, polyphonization of a homophonic texture, figured counterpoint,
poly-accentuality, metro-rhythm.
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