Louisiaa State Uiversity LSU Digital Commos LSU Master's Theses Graduate School 2017 Sog ad Russia Futurism: The Early Vocal Works of Nikolay Roslavets ad Arthur Lourié Savaa Riglig Louisiaa State Uiversity ad Agricultural ad Mechaical College, rigligs@gmail.com Follow this ad additioal works at: https://digitalcommos.lsu.edu/gradschool_theses Part of the Music Commos Recommeded Citatio Riglig, Savaa, "Sog ad Russia Futurism: The Early Vocal Works of Nikolay Roslavets ad Arthur Lourié" (2017). LSU Master's Theses. 4578. https://digitalcommos.lsu.edu/gradschool_theses/4578 This Thesis is brought to you for free ad ope access by the Graduate School at LSU Digital Commos. It has bee accepted for iclusio i LSU Master's Theses by a authorized graduate school editor of LSU Digital Commos. For more iformatio, please cotact gradetd@lsu.edu.
SONG AND RUSSIAN FUTURISM: THE EARLY VOCAL WORKS OF ARTHUR LOURIÉ AND NIKOLAY ROSLAVETS A Thesis Submitted to the Graduate Faculty of the Louisiaa State Uiversity ad Agricultural ad Mechaical College i partial fulfillmet of the requiremets for the degree of Masters of Music i The School of Music by Savaa Riglig B.M., Uiversity of South Florida, 2015 August 2017
TABLE OF CONTENTS ABSTRACT... iii CHAPTER 1 INTRODUCTION...1 2 MELODY AND MUTABILITY...10 ROSLAVETS EARLY SYNTHETIC STYLE IN FOUR COMPOSITIONS FOR VOICE AND PIANO...29 4 CONCLUSION...58 BIBLIOGRAPHY...61 APPENDIX: TRANSLATIONS OF THE ROSLAVETS SONGS...6 VITA...65 ii
ABSTRACT This thesis aalyzes Nikolay Roslavets s Four Compositios for Voice ad Piao ad Arthur Lourié s Azbuka ad Coroa Carmium Sacrorum, all works writte durig the height of the composers ivolvemet with the Russia Futurist movemet. These works represet opposite meas of compositioal experimetatio. Lourié used Russia folk iflueces to stretch the limits of toality through the use of peremeost. Azbuka ad Coroa Carmium Sacrorum cotai equal toal ceters of A mior ad C major with secodary harmoic areas of E mior ad G major. Roslavets, however, iveted his ow system of composig with sythetic chords to free himself from past artistic treds. A combiatio of voice-leadig aalysis ad set class aalysis reveals three types of traspositioal orgaizatio: cyclic, derivative, ad varied. Each type of traspositioal orgaizatio has a differet fuctio that shapes the harmoic ad orthographical ladscape of the sogs. Lourié s works maifest his shift to ew simplicity (Sitsky, 87) as a meas of musical experimetatio whereas Roslavets sought to expad the boudaries of compositio with sythetic chords. iii
CHAPTER 1: INTRODUCTION Arthur Lourié (1892 1966) ad Nikolay Roslavets 1 (1881 1944) are two composers whose musical cotributios are oly recetly comig to light i the West, largely due to tragic historical circumstaces. Both composers foud themselves effectively writte out of history with the rise of the Stali regime i the 1920 s ad 190 s ad, cosequetly, may of their works were either lost or destroyed. I the 1910 s Lourié ad Roslavets flourished i avat-garde artistic commuities i Moscow ad St. Petersburg which grated them compositioal freedom ad exposure to ew music from aroud Europe. Roslavets s ad Lourié s provocative compositioal style drew the attetio of promiet Russia Futurists, such as David Burlyuk ad Beedikt Livshits, who i tur gave their music a platform. 2 This thesis examies the opposite approaches Lourié ad Roslavets took i their sythesis of avat-garde art ad poetry ito music. Lourié s Coroa Carmium Sacrorum ad Azbuka combie eclectic subject mater with Russia theoretical thought that challeges toality ad past poetic practices. Roslavets s Four Sogs for Voice ad Piao reveals the Russia attempt at composig atoal music ad methods of orgaizig a ew system free of toal costraits. The Russia Futurist movemet does ot have a cocrete begiig, but was fouded by a group of artists i respose to the impressioist movemet i Frech paitig ad a reactio agaist the decadet symbolist movemet i Russia literature. This group of eoimpressioists aimed to sythesize impressioist paitig ideals with literature ad sought to emphasize 1 The system of trasliteratio used i this thesis is that of Richard Taruski, which he modified from Gerald Abraham s system used i the 1980 New Grove Dictioary of Musicias. This system allows ии to be writte ii, ий as iy, ad ы as ï. See Simo Morriso, Russia Opera ad the Symbolist Movemet (Berkeley: Uiversity of Califoria Press, 2002), xi. Names commoly spelled aother way, such as Yavorsky, will ot adhere to this system. 2 Vladimir Markov, Russia Futurism: A History (Berkeley: Uiversity of Califoria Press, 1968), 140, ad Charles M. McKight, III, Nikolai Roslavets: Music ad Revolutio (PhD diss., Corell Uiversity, 1994), 7. Ibid, 2. 1
lyrical realism i their works. 4 I 1910 a group of likemided artists published Sadok sudey [ A Trap for Judges ] a collectio of prose, poetry, ad sketches prited o wallpaper. 5 Cotributor Mikhail Matiushi (1861 194) stated We uderstood very well that with [Sadok sudey] we were layig a graite corerstoe as the basis of a ew epoch of literature. 6 Despite their high ambitios for the publicatio, it received little critical attetio ad failed to create a maifesto for their beliefs. 7 The creatio of Sadok sudey served as the first ever gatherig of Russia Futurists, although the group did ot refer to themselves by that title. David Burlyuk (1882 1967), ad Vasiliy Kameskiy (1884 1961) trace the cocrete begiig of the Futurist movemet to Sadok sudey i late 1909, but other Futurists disputed their claim ad believe the movemet bega aroud 1911 1912. 8 The early Russia Futurists deied ay ifluece of the Italia Futurist movemet both i regards to their formatio ad ideals. 9 Vladimir Markov echoes their opiio: it is true that i its origis the Russia group was quite idepedet of the Italias. I 1909 ot oe of the Sadok people had eve heard of Futurism; o oe could dream that three years later they would call themselves futurists. 10 Filippo Tommaso Marietti (1876 1944) bega the Italia Futurist movemet with the publicatio of his Maifesto of Futurism i 1909. 11 The Italia movemet was the first to coi the term futuristi ad aimed to create ew ad provocative forms of art. 12 Marietti, refuted the Russia Futurists claims of idepedece by publishig the followig statemet i The Russia Gazette (191): 4 Ibid, 4. 5 Ibid, 8 ad 22. 6 Charlotte Douglas, The New Russia Art ad Italia Futurism, Art Joural (1975): 21. 7 Markov, 26. 8 Ibid, 4. 9 Ibid, 8. 10 Ibid, 26 27. 11 Susa P. Compto, Italia Futurism ad Russia, Art Joural 4 (1981): 4. 12 Ibid, 4. 2
There ca be o argumet that the word Futurism (Futurists, Futuristic) appeared i Russia after my first maifesto was prited i Figaro ad reprited by the most importat ewspapers throughout the world ad, of course, by Russia ewspapers ad jourals. 1 Argumets for the ifluece of Italia Futurism o Russia Futurism cite similarities with paitig techiques, the chroology of the movemets (Italia Futurism came first), ad the presece of Italia Futurist maifestos i Russia ewspapers begiig i 1910. 14 Ulike the Italia Futurists, the Russia movemet was divided ito several subsets of Futurism. David Burlyuk fouded i the Cubo-Futurist group i 1910 uder a differet ame, Hylaea. 15 The origial Hylaeas cosisted of David Burlyuk (1882 1967), Vladimir Burlyuk (1886 1917), Vladimir Mayakovskiy (189 190), ad Beedikt Livshits, all Moscow based poets ad artists reactig agaist the Symbolist movemet. 16 Their 1912 treatise A Slap i the Face of Public Taste details the group s philosophy statig that: Oly we are the face of our Time The past is crowded. The Academy ad Pushki are more icomprehesible tha hieroglyphics. 17 Their cotroversial statemets boosted the fame of the orgaizatio ad spurred them to chage their ame to Cubo-Futurists i 191 ad spread to St. Petersburg. 18 O the opposite spectrum was the St. Petersburg based Ego-Futurist group characterized by urbaist theme(s) philosophy of extreme idividualism, ad poetic experimet. 19 The Ego-Futurist movemet cotaied a strog Frech ifluece that juxtaposes the Russia sovereigty of the Cubo-Futurists, although both groups experimeted with eologism ad irreveret poetry. 20 1 Douglas, 229. 14 Ibid. 15 Ibid, 2. 16 Ibid. 17 David Burlyuk, Aleksei Krucheïkh, Vladimir Mayakovskiy, ad Victor Khlebikov, Poščečia obščestveomu vkusu. (Drucker, 1912). Traslated i Markov, 45. 18 Markov, 45 ad 117. 19 Ibid, 88 ad 117 118. 20 Ibid, 60 ad 62.
While Russia Futurism was primarily a literary ad artistic movemet, it greatly iflueced musicias, especially composers. This thesis examies Four Compositios for Voice ad Piao by Nikolay Roslavets ad Coroa Carmium Sacrorum ad Azbuka by Arthur Lourié writte durig the height of their ivolvemet with the Russia Futurist movemet (191 1917). Although Russia Futurism was a loosely defied term amog the Russia composers, their artistic aims were similar to those of the fouders of the Russia Futurist movemet. My thesis focuses o the compositioal methods of these differet Russia Futurist composers, who sought to create a ew musical soud i cogruece with their era of artistic freedom ad experimetatio. Nikolay Roslavets was bor to a peasat family i Dushatio, Ukraie o Jauary 5, 1881, where he grew up i impoverished circumstaces ad taught himself how to read ad write. 21 After learig piao ad violi by ear, Roslavets bega takig theory lessos from Arkadiy Maksimovich Abaza i the 1890s. 22 This traiig served as a catalyst for Roslavets to leave his rural settigs ad eroll i the Moscow Coservatory i 1902. 2 Roslavets spet te years studyig violi ad compositio at the Moscow Coservatory ad wo the silver medal for his catata Heave ad Earth. 24 Roslavets was ot fod of his time at Moscow Coservatory ad states i his persoal memoir, Havig at last bee freed from the fetters of school ad havig etered upo idepedet creatio, I felt from the very first that i order to speak my ow word i music, I must absolutely be fiished with all the baggage I received at school. 25 Roslavets s desire to create somethig ew led to the creatio of his system of composig with sythetic chords i 191. 26 He first utilized this method i his Soata No. 1 for Violi ad Piao 21 Larry Sitsky, Music of the Repressed Russia Avat-Garde, 1900 1929 (Lodo: Greewood Press, 1994), 8. 22 Ibid, 9. 2 Ibid. 24 Ibid. 25 Nik. A. Roslavets o Himself ad His Works, Sovremeaia muzïka 1 (1924), 1. Traslated i McKight, 6. 26 Aa Ferec. Roslavets, Nikolay Adreyevich. Grove Music Olie. Oxford Uiversity Press. 4
(191) ad Three Compositios for Voice ad Piao (191). 27 Roslavets remaied i Moscow after graduatio ad worked with the Lecture-Repertoire-Publishig area of the Proletaria Cultural-Educatioal Orgaizatio ad served as head of music publishig for the Moscow Proletkult. 28 I 1921 Roslavets served as the head for the headed the People s Commissariat of Public Educatio i the Ukraie, but retured to Moscow two years later. 29 Upo facig pushback for his compositios, Roslavets broke ties with the commuist party i 1924 ad was forced to relocate to Uzbekista due to risig political tesios i 191. 0 Roslavets was able to retur to Moscow i 19, although his ame had already bee expuged from the Russia ecyclopedias. 1 Due to his poor health, Roslavets was readmitted to the Uio of Soviet Composers i 1940, but died four years later. 2 Bor as Naum Lur ye i Odessa, Ukraie, Lourié immigrated to Russia i 1909. He erolled i St. Petersburg Coservatory, where he received his musical traiig alogside Sergei Prokofiev. Lourié stopped attedig classes i 191, however, ad became icreasigly ivolved with the Cubo-Futurists. 4 His regular performaces at the Stray Dog cabaret elevated him as the musical leader of the Futurist movemet. Additioally, i 191 Lourié officially chaged his ame from the Jewish Naum Lur ye, to Arthur Vicet Lourié followig his coversio to Catholicism. After the revolutio, Lourié served as the head of MUZO, the musical divisio of the People s Commissariat, ad worked to reform music educatio ad promote Russia musical ideals. I his time servig as head of MUZO, from Jauary 1918 to Jauary 1921, Lour- 27 Sitsky, 56 57. 28 Iessa Bazayev, Composig with Circles, Spirals, ad Lies of Fifths: Harmoy ad Voice Leadig i the works of Nicolai Roslavets (PhD diss., City Uiversity of New York, 2009), 4 5. 29 Ibid, 5. 0 Ibid. 1 Ferec. Roslavets, Nikolay Adreyevich. 2 Ibid. The Uio of Soviet composers grated Roslavets access to healthcare i his later years. Olesya Bobrik, Arthur Lourié: A Biographical Sketch, i Fueral Games i Hoor of Arthur Vicet Lourié, ed. ad tras. Klára Móricz ad Simo Morriso (Oxford: Oxford Uiversity Press, 2014), 5. 4 Markov, 140. 5
ié published a large umber of his works, but hesitated i doig the same for his cotemporaries. 5 Lourié resiged from his positio due to risig political tesios ad scadal i 1921, ad left Russia a year later. 6 He relocated to Berli where he met Varése ad was admitted to the League of Composers. 7 After some difficulty due to his Soviet coectios, Lourié moved to Paris ad become a Frech citize i 1926. 8 Lourié made the acquaitace of Stravisky ad Koussevitzky durig his time i Paris, but left due to decliig positios i 1941. 9 Lourié maitaied a workig relatioship with Koussevitzky despite failig to achieve success as a composer. He died i Priceto, New Jersey i 1966. 40 Although both composers careers followed differet directios, the Russia Futurist movemet (191 1917) uites the two compositioally ad historically. Arthur Lourié s first exposure to the movemet was through the avat-garde Stray Dog Café i St. Petersburg. 41 It was here that he first caught the eye of the leader of the Cubo-Futurists, Beedikt Livshits (1887 199), who was attracted to Lourié s experimetatio with quartertoe harmoy. 42 The height of Lourié s ivolvemet with the Cubo-Futurists occurred i 1914 as a reactio to Italia Futurist Filippo Tommaso Marietti s visit to Russia. 4 I respose to Marietti s cotroversial visit, Lourié, Livshits, ad George Yakulov 44 (1884 1928) co-authored the We ad the West treatise which states Europe has o ew art ad caot have it for this is fouded o cosmic elemets. All art of the West is territorial. The oly coutry which, hitherto, has had o territorial 5 Bobrik, 42 4. 6 Ibid, 46 47. 7 Ibid, 48. 8 Ibid, 50. 9 Ibid, 56. 40 Bobrik, 62. 41 Ibid, 5. 42 Markov, 140. 4 McKight, 7 8. 44 Mauree A. Carr, After the Rite: Stravisky s Path to Neoclassicism: 1914 1925 (Oxford: Oxford Uiversity Press, 2014), 8. 6
art is Russia. 45 Lourié details that for music a mastery of liearity (architectoic) by meas of ier perspective (primitive sythesis) ad substatiality of elemets are what will move Russia music forward. 46 I February 1914 47 Lourié ad Livshits hosted a lecture recital where Lourié gave the ati-wester talk, Italia Futurist Music. 48 Roslavets joied Lourié for this lecture recital ad gave a respose to Lourié s lecture alogside composer Mikhail Matiushi (1861 194). 49 Livshits favor for Lourié was short lived ad did ot allow the composer to joi the Cubo-Futurists. He described Lourié as a provicial sob, who cared little for the futurists, but associated with them, ad ever called himself a Futurist out of foppishess. 50 Despite ever becomig a formal member of the Cubo-Futurists, Lourié s political views ad iterests remaied similar to the group leadig up to the 1917 Revolutio. Roslavets was ever explicitly ivolved with the Futurist movemet, but did have a relatioship with David Burlyuk. The two are speculated to have met durig Roslavets s studies at the Moscow Coservatory, where Burlyuk s wife also studied. 51 Roslavets s ew method of compositio caught Burlyuk s attetio ad ispired him to illustrate the covers of Roslavets s works 52 ad publish them i various Cubo-Futurist publicatios icludig the 1915, Veseeye kotragetstvo muz [ The Veral Subcotractig Agecy of the Muses ] ad 1916, Moskovskiye mastera [ Moscow Masters ]. 5 Roslavets set the poetry by a variety of Russia Futurist poets, icludig Igor Severyai (1887 1941), Kostati Bolshakov (1895 198), ad Vasilisk 45 Beedikt Livshits, The Oe ad a Half-Eyed Archer, traslated ad edited by Joh E. Bowlt (Newtoville, MA Orietal Research Parters, 1977), 174 ad 250 251. Used i Carr, After the Rite: Stravisky s Path to Neoclassicism: 1914 1925, 10. 46 Ibid. 47 McKight, 7 8. 48 Sitsky, 155. 49 McKight, 7 8. 50 Markov, 140. 51 McKight, 7 8. 52 Markov, 411. 5 Ferec. Roslavets, Nikolay Adreyevich. 7
Gedov (1890 1978) whose poems appear i Four Compositios for Voice ad Piao. 54 Roslavets highlights the similarities betwee the rival Futurists i Four Compositios for Voice ad Piao by the Cubo-Futurist Burlyuk ad Ego-Futurist Severyai, Bolshakov, ad Gedov. Both Lourié ad Roslavets were uited i history through Russia Futurism but the two composers works from the time represet opposite meas of experimetatio. I this thesis, I aalyze two differet compositioal approaches take by Lourié ad Roslavets i Azbuka, Coroa Carmium Sacrorum, ad Four Compositios for Voice ad Piao. Lourié s works coicide with his shift to ew simplicity i 1915 after experimetig with graphic otatio ad quarter-toe harmoies. 55 This ew simplicity i Lourié s compositioal style alludes to the primitive sythesis metioed by the composer i We ad the West ad maifests itself i the form of peremeost (mutability) preset i all the sogs. I Chapter 2 I idetify the presece of two, equal toal-ceters i Azbuka ad Coroa Carmium Sacrorum. I aalyze moophoic, melodic examples ad harmoic progressios to reveal differet aspects of peremeost withi the sogs. Theorist Boleslav Yavorsky discovered the uique capacity for moophoic music to exist i two toal ceters at oce through the aalysis of Russia folk sogs upo which later theorists, such as Yuri Kholopov, added triadic ad harmoic fuctio. 56 The presece of peremeost i Azbuka ad Coroa Carmium Sacrorum serves as a meas for Lourié s experimetatio i music that exists outside of Wester toal orms. Roslavets also aimed to write music beyod Wester toality ad chose to create a ew system of composig with sythetic chords. My aalytical approach follows the work doe o Four Compositios for Voice ad Piao by Charles 54 Markov, 61, 78, ad 110. 55 Sitsky, 87. 56 Elle Bakulia, The Cocept of Mutability i Russia Theory, Music Theory Olie 20, o. (2014). 8
McKight III ad Terry Ewell by examiig methods of voice leadig withi the sogs. 57 I Chapter, I discuss cyclic, derivative, ad varied traspositio ad their role i these early sythetic works. Cyclic traspositio reveals explicit methods of trasitioig to orthographical extremes, derivative traspositio shows arithmetic patters, ad varied traspositio highlights the flexibility of sythetic chords through the use of eharmoic pivots. I examie these sogs usig voice leadig graphs outlied by Joseph Straus i Voice Leadig i Atoal Music ad Uiformity, Balace, ad Smoothess i Atoal Voice Leadig to highlight the importace of orthography ad voice leadig paths betwee the sythetic harmoies i the sogs. 58 My cocludig chapter sythesizes the musical experimetatio of Roslavets ad Lourié with the artistic ad literary edeavors of the Russia Futurist movemet. 57 See Charles M. McKight III, Nikolai Roslavets: Music ad Revolutio (PhD diss., Corell Uiversity, 1994) ad Terry Barard Ewell, At the Vaguard of Russia Musical Moderism: Nikolai Adreevich Roslavets (PhD diss., Uiversity of Washigto, 1994). 58 See Joseph N. Straus, Voice Leadig i Atoal Music, i Music Theory i Cocept ad Practice, ed. by James M. Baker, David W. Beach, ad Joatha W. Berard (Rochester: Uiversity of Rochester Press: 1997) ad Uiformity, Balace, ad Smoothess i Atoal Voice Leadig, Music Theory Spectrum 25 (200). 9
CHAPTER 2: MELODY AND MUTABILITY I A Iquiry to Melody Arthur Vicet Lourié states melody i itself is ot coected with ay actio ad does ot lead to ay actio, that it serves o purpose at all. 59 However, what the Futurist composer believes is that melody brigs liberatio, a sese of freedom, ad has the potetial to free the listeer from the chais of spatial ad temporal limitatios. 60 Although Lourié published his article i Moder Music i 1929, the composer s beliefs echo the ifluece of his time spet i St. Petersburg durig the Russia Silver Age, where his quest was to compose truly Russia music. Durig his early years spet i St. Petersburg, Lourié wrote several collectios of vocal works, icludig the secular Azbuka (1917) ad sacred Coroa Carmium Sacrorum (1915 1917). 61. I the followig chapter, I first summarize the cocept of peremeost [mutability] as defied by Yavorsky ad Kholopov ad the idetify cotrastig aspects of mutability withi Azbuka ad Coroa Carmium Sacrorum. Although these sogs cotai cotrastig subject matter Lourié s use of peremeost, or toal mutability, uites the musical surface of the compositios. Russia theorist Boleslav Yavorskiy itroduced the cocept of peremeost i his 1908 treatise, Stroeie muzykal oi rechi [The Structure of Musical Speech] upo which later theorists, such as Protopopov, Mazel, ad Kholopov, elaborated. 62 Peremeost evolves from Yavorskiy s symmetrical systems, which show resolutio of tritoes ito either major or mior thirds, i tur creatig a series of ustable ad stable pitches. The culmiatio of these stable ad ustable pitches creates mutable modes with four stable toic pitches, separated by thirds. 59 Arthur Lourié, A Iquiry ito Melody, Moder Music 7-8, o.1 (190): 6, 9. 60 Ibid, 9. 61 Arthur Lourié: Works, http://www.lourie.ch/e/arthur-lourie/works/ 62 Bakulia. 10
Example 2.1 oe shows Yavorsky s Mutable Mode Oe that cotais A mior ad C major as equal toal ceters. # w w b # w w b w Example 2.1: Yavorsky s Mutable Mode Oe 6 Yavorsky s mutable modes illustrate peremeost via it s lack of a sigle pitch or chord as toic, allowig for music to oscillate betwee toal ceters. Yavorsky ad his studet Protopopov s origial Teoria Ladvogo Ritma [Theory of Modal Rhythm] focuses o the moophoic implicatios of peremeost, commoly foud i Russia folk sogs, which was later further developed by theorists Lev Mazel ad Viktor Berkov. Accordig to Mazel, the series of stable thirds i Yavorskiy s mutable modes create two diatoically related triads, which fuctio as equal toics throughout the piece. 64 Berkov elaborates o Mazel s triadic fuctios of peremeost statig that, ulike Wester modulatio, mutability features fluctuatios betwee third-related, diatoic major ad mior keys (see Example 2.2). 65 A mior w w w w C major Example 2.2: Diatoically related keys formed by Yavorskiy s Mutable Mode Oe. 6 Bakulia, The Cocept of Mutability i Russia Theory. 64 Ibid. 65 Ibid. 11
Mutable music cotais two primary toic chords ad two secodary domiat chords that accout for the four stable pitches of Yavorsky s Mutable Modes. 66 I the late twetieth cetury, Igor Sposobi ad Yuri Kholopov wideed the cocept of peremeost ito other types of mutability, ad later modality type ad toality type modes. 67 Modality type focuses o mutability geerated by pitch as a ceter ad the iteractios of other pitches i a scale aroud it. 68 Toality type bases mutability off the iteractios of chords aroud a cetral triad. Both Azbuka ad Coroa Carmium Sacrorum cotai Yavorsky s Mutable Mode Oe, ad oscillate i betwee A mior ad C major. A juxtapositio of the four sogs foud i Azbuka ad Coroa Carmium Sacrorum, reveals differet aspects of mutability defied by Russia theorists over the years. Coroa Carmium Sacrorum is Lourié s first sacred work; its first sog was composed i 1915 ad the last i 1917. The work origially cosisted of three sogs: Ave Maria, Salve Regia, ad Iviolata, which Lourié did ot complete. 69 The text i the Coroa Carmium Sacrorum derives from Maria atiphos, o-liturgical sacred texts about the Virgi Mary. I his settigs of the atiphos, Lourié hearkes back to earlier compositioal techiques i his use of traditioal church modes, a melismatic vocal lie, ad juxtapositio of duple ad triple meters. 70 Despite the Wester iflueces, Lourié adds a Russia elemet to Coroa Carmium Sacrorum through the use of lady modal ogo ad toal ogotipa [modality-type ad toalitytype mutability.] 71 66 Elle Bakulia, Toality ad Mutability i Rachmaioff s All Night Vigil Movemet 12, Joural of Music Theory 59, o.1 (2015): 70. 67 Ibid. 68 Ibid. 69 Arthur Lourié Works, The Arthur Lourié Society, http://www.lourie.ch/e/arthur-lourie/works/ 70 Lourié s coversio to Catholicism i 191 iflueced his compositioal choices ad accouts for his settig of Maria Atiphos. Source: Olesya Bobrik, Arthur Lourié: A Biographical Sketch, i Fueral Games i Hoor of Arthur Vicet Lourié, ed. ad tras. Klára Móricz ad Simo Morriso (Oxford: Oxford Uiversity Press, 2014), 8-9. 71 Elle Bakulia, Toality ad Mutability i Rachmaioff s All Night Vigil Movemet 12, 12
Peremeost maifests itself o a moophoic level i the melody of Ave Maria. Melodically emphasized pitches create mutability preset i the sog. 72 As show i Example 2., the melody implies a equal cetricity betwee A mior, show i dotted boxes, ad C major, show i bold boxes. Startig i m. 9, the vocal lie begis o a D ad cotais all of the otes i a G major triad, implyig C major. The F-sharps i mm. 11 ad 21 fuctio as chromatic lower eighbor ad passig toes ad do ot thwart the diatoic mutability i the melodic lie. A mior w w w w C major 9 4 6 Ó A. - ve, Ma-ri - a, gra - ti-a ple - a; Do-mi - us te - cum; be -e - dic -, - # - 1 - - -. ta tu i mu - li -e - ri-bus et be - e - dic - tus 16 20. Ó fru - ctus ve-tris tu - i Je - sus, Sa - cta Ma-ri - a, Ma - ter - - -,U. # - bis pec-ca-to - ri-bus, uc et i ho-ra mor-tis o - strae. A - De i, O ra pro o π U me. Example 2.. Ave Maria, mm. 9 22. Melodic mutability i the vocal lie. Alludig to A mior, m. 10 itroduces a A o beats 1, which the music stresses agogically ad metrically. The music returs to C major o beat 4 of m. 10 with the etrace of gra- 72 Iessa Bazayev, The Expasio of the Cocept of Mode i Twetieth Cetury Music Theory, Music Theory Olie 20, o. (2014). 1
tia plea, which begis o B ad eds o D. Ave Maria cotiues this moophoic peremeost i the vocal lie by havig every phrase that implies A mior start, or ed, o A, C, or E, ad phrases i C major ed o G, B, or D. Measures 14 15 ad 10 12 of Example 2.1 highlight this characteristic. This melodic cotour coicides with Yavorsky ad Protopopov s Theory of Modal Rhythm sice the mutability betwee C ad A geerates from the melody aloe. Example 2.4 shows how the implied harmoic areas i the melodic lie shift the harmoy from G major to A mior i the accompaimet ad prevet toal closure i ay oe key. 9 A mior w w w w 4 6 Ó C major π 4 6 4 6 J J π.. J. J A - ve, Ma-ri - a, gra - ti - a ple - a; V i V I V J J, Example 2.4. Ave Maria, mm. 9 11. Mutable progressio. Throughout the piece, the right had doubles the melody, stregtheig the presece of modality-type mutability. The progressios formed by the accompaimet create harmoies that shift betwee A mior ad C major. Measure 9 cotais a G major triad that fuctios as the secodary chord of C major. The harmoy moves to a A mior triad i m. 10 ad prevets toal closure i the key of C major by avoidig a cadece. Measures 10 12 shift back to C major ad 14
move from V to I, but the atecedet V that eds m. 12 strips the V to I motio of ay cadetial properties. A mior w w w w C major 1 - ta - tu. i mu - li -e - ri-bus J J J J J J J j j i ii i v 15. et be - e - dic - tus fru - ctus ve - tris tu - i Je - sus, j # J J J J J J J J J i v Example 2.5. Ave Maria, mm. 1 16. Mutable Progressio. The lack of cadetial closure i either key allows for mm. 9 11 to exist i two toal ceters simultaeously. Despite havig a triadic accompaimet, mm. 9 11 cotai modality-type mutability as the ceter depeds o a melodic pitch rather tha a triad. Measures 1 16 feature a similar progressio that fosters mutability i the lack of cadetial closure. Example 2.5 ca be heard e- 15
tirely i A mior, but does ot solidify the key as the primary toal area i the sog. The omissio of G-sharp from the secodary E mior triads i mm.14 15 prevets toal closure i the key A mior. Although the harmoy moves from i to v i A mior A mior w w w w C major 4 6 π 4 6 # # π # # π # # # # π π # A 7 # # π # π # # π # # # π π π. π 6 C +7 + + E G π # π π U # # π u + + + + G A E A E A Example 2.6. Ave Maria, mm. 1 9. Mutable Mode Oe outlied i the piao itroductio. the lack of a raised leadig toe hiders ay cadetial motio that would cofirm A mior as the sole toic of the piece. Ave Maria opes with a piao itroductio that covers the harmoic ar- 16
eas i Yavorsky s Mutable Mode Oe. As show i Example 2.6, the sog begis o a A domiat seveth chord that thwarts the toal ceter of the piece, as it fails to resolve or imply a toal fuctio. Sice there is o melody i the itroductio, triadic fuctio creates mutability mm.1-8. Viewig the C-sharp as a chromatic alteratio of the mediat reveals that the opeig chord cotais all of the pitches i Yavorsky s Mutable Mode Oe. The harmoic progressio i mm. 1 5 cotais a A domiat seveth chord, the a C mior seveth chord, the a E major triad, ad eds o a G major triad. Although seveth chords do ot coicide with mutable progressios, mm. 1 7 spell out the stable pitches of Mutable Mode Oe ad preset the harmoic layout of the etire sog. The secod sog, Salve Regia opes with the voice ad cotais moophoic peremeost withi the melody. Similar to Ave Maria, melodically emphasized pitches create mutability. Example 2.7 reveals the oscillatio betwee A mior ad C major implied i the vocal lie i mm. 1 9. 17
A mior w w w w C major 4 6 - - U - Sal - ve, Re - gi - a, ma - ter mi-se -ri-cor - di - ae, j 4 4 5 J J 2 vi-ta dul-ce-do et spes os-tra sal - ve Ad te cla-ma-mus e - xu - les fili- i He-vae 4 5 j # 4 6 5 Ad te su -spi -ra-mus ge-me-tes et fle -tes i hac lac -ri -ma - rum val - le 7 4 6 - Ei -a er-go ad-vo-ca -ta os -tra il - los tu -os mi-se-ri-cor-des o-cu -los ad os co-ver -te Example 2.7. Salve Regia, mm. 1 8. Melodic mutability i the vocal lie. Due to the loger phrases i Salve Regia, mutable ceters coicide withi a give phrase, so the presece of various skips ad leaps i the vocal lie determies the moophoic mutable ceters. The harmoies i the accompaimet mirror the modality-type mutability preset i mm. 1 8, except at m. 4. Example 2.8 shows that, i m., the accompaimet features a G major triad while the vocal lie shifts betwee E mior ad G major. 18
Example 2.8. Salve Regia, m. 2. Icosistecies betwee harmoic ad melodic mutability. This melodic ad harmoic icosistecy shows the duality betwee the secodary chords withi Mutable Mode Oe. At m. 9 the music begis to trasitio away from A-cetered Aeolia, ad moves to E-cetered Phrygia major i m. 11. Example 2.9 shows that this trasitio avoids toal closure i either A mior or C major. The secodary G major triad of C major moves to the secodary E mior triad of A mior. Although the E mior triad moves to A mior i m.10 the omissio of the G sharp prevets toal closure i A mior ad maitais the mutability. A mior w w w w 9 C major. - - - Ó V v i Example 2.9. Salve Regia, mm. 9 10. Mutable progressio trasitioig to ew modal area. 19
Oce the music trasitios to E-cetered Phrygia major, the sustaied G-sharp ad triplet motive i the accompaimet cofirms the presece of the ew modal area, emphasizig the raised third scale degree ad lowered secod scale degree. (Example 2.10) Example 2.10. Salve Regia, mm. 11 16. E-cetered Phrygia major. The piece ever returs to A-cetered Aeolia as the G-sharp-to-E cadetial motio i mm. 15 16 followed by a E major triad i the accompaimet ed the piece i E-cetered Phrygia major. Despite begiig ad edig i differet modal areas the piece cotais peremeost throughout. The lack of ay cadeces ad the harmoic reliace o melody makes Salve Regia lady modal ogo type mutability. This movemet from oe modal area to aother coicides with both Kholopov ad Miasoedov s theories of mutability. Differig from Yavorskiy s thirdrelated Mutable Modes, Miasoedov s otio of pra-garmoiya [proto-harmoy] suggests that 20
Russia harmoy stems from four diatoically related toal ceters, separated by fifths, which have equal status withi a give piece. 7 Accordig to Miasoedov: I the harmoic progressio, or, more precisely, amog the four give chords, ay oe of them may take the role of toic. For Russia harmoy, this is fudametally importat.... It must be said that the perceptio of these triads as toics is sufficietly relative. I all the schemes give above, it is very easy to udermie their stability. This is atural, because the otio of stability ad istability are very relative i two-, three-, or fourchord diatoic systems, o which the triadic combiatios give here are based. 74 Thus, the shift from a A-cetered mode to E-cetered mode is a shift from oe equal toic to aother, rather tha a case of directed toality. The modal shift i Salve Regia also aligs with Kholopov s view that [the] weaker the force of toal cetricity, the stroger the mutability of modes expresses itself i differet ways. 75 Istead of toics, Kholopov focuses o the weakeig of toal or modal ceters as costitutig mutability. 76 I this sese, the lack of cadetial motio or leadig toes i the A-cetered sectio from mm. 1 10 weake the modal ceter ad allow for a shift to E-cetered Phrygia major. Lourié wrote the two secular sogs of his Azbuka collectio i 1917, durig the height of the Bolshevik revolutio. He dedicated Azbuka to Aochke doche ke, a pet ame for his first daughter, Aa. Lourié used texts by Leo Tolstoy i both sogs of Azbuka ad amed the work after Tolstoy s 1874 educatioal book of the same ame. The sogs i Azbuka mirror the Russia chastushka traditio. Chastushki are popular sogs characterized by short text, overt simplicity, ad mootoous rhythm. 77 The two sogs, Po slogam a raspev [ The Syllables i the Chat ] ad Pro slepogo [ About the Blid ] possess differet aspects of the chastushka traditio. The Syllables i the Chat details various types of syllables ad souds i the Rus- 7 Bakulia, The Cocept of Mutability i Russia Theory. 74 Adrei Miasoedov, O garmoii russkoĭ muzyki (kori atsioaloĭ spetsifiki) (Moscow: Prest, 1998), 19. 75 Yuri Kholopov, Garmoiia: Teoreticheskiĭ kurs, (Moscow: Prest, 1988), 17. 76 Bakulia, The Cocept of Mutability i Russia Theory. 77 M. Trophimoff, Moder Russia Popular Sogs, Folklore 2, o.4 (1912): 42. 21
sia alphabet ad cotais the patter style of sigig commo to chastushka. 78 (Example 2.11) Ба Ма Па Но До Ну Бу Ту Ты Мы Ти Ни Мя Щи Тя Ся Тю Ню Лю Туча. Тула. Куча. Лужа. Луки. Дули. Дуги. Души. Руки. Буки. Бусы. Муха. Пилы. Силы. Жилы. Вилы. Липы. Зубы. Щука. Шуба. Дура. Губы. Дуня. Куры. Гуща. Пуля. Гуси. Буря. Сума. Шины. Диво. Пиво. Тина. Пища. Лиза. Рига. Горы. Нары. Воры. Ноги. Сани. Бани. Ваня. Катя. Каша. Рама. Рана. Сало. Мама. Мыло. Мыши. Митя. Гиря. Козы. Сохи. Кожа. Кони. Раки. Баба. Лапа. Сажа. Саша. Даша. Маша. Жало. Папа. Рыба. Дыры. Лыжи. Лыко. Мясо. Тёща. Дыня. Дядя. Тятя. Тюря. Щёки. Няня. Люди. Люли. Тётя. Леля. Пары. Кули. Пила. Зима. Душа. Губа. Сума. Пуды. Быки. Сады. Луга. Луна. Цари. Дуга. Рука. Мука. Суды. Пыжи. Ba Ma Pa No Do Nu Bu Tu Tï Mï Ti Ni Mya Shchi Tya Sa Tyu Nyu Lyu Cloud. Tula. Pile. Puddle. Bows. Duli. Arcs. Souls. Hads. Buki. Necklace. Fly. Saws. Forces. Tedo. Pitchfork. Tilias. Teeth. Pike. Fur coat. Fool. Lips. Duya. Chickes. Gusha. Bullet. Geese. Storm. Suma. Tires. Divo. Beer. Tia. Food. Liza. Riga. Moutais. Narï. Thieves. Legs. Sleighs. Bai. Vaya. Katya. Porridge. Frame. Woud. Salo. Mom. Soap. Mice. Mitya. Weight. Goats. Sohi. Ski. Horses. Crawfish. Woma. Paw. Sazha. Sasha. Dasha. Masha. Stiger. Dad. Fish. Holes. Skies. Lïko. Meat. Tyosha. Melo. Ucle. Daddy. Tyurya. Cheeks. Nay. People. Lyuli. Aut. Lyelya. Couple. Kuli. Saw. Witer. Soul. Lip. Suma. Pudï. Bulls. Gardes. Meadows. Moo. Tsars. Arc. Arm. Flour. Courts. Pïzhi. Example 2.11. Traslatio of The Syllables i the Chat, with utraslated terms i italics. 79 About the Blid features less repetitive rhythm ad is more complicated, but mirrors chastushki i its metaphorical subject matter. 80 As i Coroa Carmium Sacrorum, both sogs cotai peremeost, which derives from the Russia folk ifluece. 78 Ibid, 42. 79 Traslatio by Nikita Mamedov. 80 I Trophimoff, Moder Russia Popular Sogs, 441. 22
Слепой шел домой была ночь Слепой нес свет перед собой. Какой глупый слепой, несет свет перед собой, А сам слепой, для чего ему свет А нужно свет ему для того, чтоб зрячий не сбил его с ног долой. The blid ma was walkig home durig the ight. The blid ma was carryig a light i frot of him. What kid of a foolish blid ma Would carry a light i frot of himself Why does a blid ma eed light He eeds a light so that others, Who ca see, do ot kock the blid ma off his feet. Example 2.12. Traslatio of About the Blid 81 The Syllables i the Chat cotais a primarily moophoic texture, with the piao doublig the voice throughout the majority of the sog. Lourié bases the melody off the umber of syllables ad souds created by the series of words i Tolstoy s text. Due to its moophoic texture, The Syllables i the Chat is a prime example of melody creatig peremeost. This sog fluctuates betwee C major ad A mior, followig Yavorskiy s Mutable Mode Oe. Example 2.1 shows the shiftig betwee C major ad A mior throughout the piece. There are three iterval patters i the melody thirds, fifths/fourths, ad stepwise motio which determie the mutable ceter. The opeig fifth from C to G establishes C major as the toal area, which the C major chord i m. 2 cofirms. The melody shifts to A mior i m. with the leap from A to E, ad the stepwise motio from C up to G returs the music to C major at m. 5. Measures 6 14 remai i C major util the chage of texture i m. 15 shifts the melody to A mior. This triadic sectio of the piece cotais a mutable progressio from A mior to G major to E mior (Ex. 2.14).. After the brief homophoic sectio, the music returs to a moophoic texture, ad the melody from mm. 4 repeats i mm. 19 20. After shiftig back to C major i m. 21, The Syllables i the Chat remais i the mutable area util the ed of the sog. Measures 15 18 break from the moophoy foud i the rest of the sog ad cotai a brief harmoic progressio. Example 2.14 highlights the avoidace of toal closure i this progressio. Here, the A mi- 81 Traslated by Nikita Mamedov. 2
or triad moves to the secodary G major triad of C major, which moves back to A mior via the E mior triad. This short progressio avoids cadetial closure i either of the mutable ceters. Example 2.1. The Syllables i the Chat. Melodic mutability i the vocal lie. 24
A mior w w w w Example 2.14. C major 15 π мягко > > rite. i V v Example 2.14. The Syllables i the Chat, mm. 15 18. Mutable progressio. Ulike the first sog, melodic phrases i Pro slepogo shift betwee mutable ceters. Measure 6 begis with a arpeggiated G major triad, implyig C cetricity but eds the phrase with a stepwise descet to E, shiftig back to A (see Example 2.15). Example 2.15. About the Blid. Melodic mutability i the vocal lie. From a Wester toal poit of view relatig A mior ad C major to a melody i Phrygia would be a uusual relatioship however, Ogolevets s view of Phrygia as a doubly itese mior mode reveals a coectivity with the mutable areas. 82 Furthermore, About the Blid is com- 82 Bazayev, The Expasio of the Cocept of Mode i Twetieth Cetury Music Theory. 25
pletely diatoic ad cotais o cadeces, which allows the music to fluctuate betwee mutable ceters. However, the accompaimet i the piece does ot always follow the mutable shifts i the vocal lie, although the harmoy avoids toal closure i either key ceter. Example 2.16 shows the avoidace of toal closure i mm.5-6 via the omissio of the leadig toe of A mior ad the shift from the secodary G major to triad to E mior at the begiig. Although the melody ad harmoy i the piao imply both modal ad toal aspects, the piece as a whole falls ito lady modal ogo type mutability. Accordig to Kholopov, modality-type modes are cetered aroud a register-specific pitch, istead of a triad. 8 About the Blid coicides with Kholopov s idea, sice the etire piece ceters aroud E, specifically i the treble register. Example 2.17 highlights the promiece of E throughout the piece, as it appears i every measure, sometimes as a pedal toe. The pitch cetricity aroud E explais the presece of certai dissoat harmoies, such as the opeig ad closig F major seveth chords i mm. 4 ad m. 1. Although these harmoies stad as outliers i the modal scheme, they all cotai E, which uifies them with ceter of the piece. Lourié s early vocal works draw from a rich Russia folk ad theoretical traditio i both their subject matter ad compositioal make-up. Coroa Carmium Sacrorum features iflueces from both Russia ad Wester Catholic traditio, while Azbuka echoes the Russia folk traditio of chastushki. Despite their differet subject matter ad iflueces, Lourié s use of peremeost uities the two pieces ad shows a cotiuity with past Russia compositioal practices. All four sogs utilize Yavorskiy s Mutable Mode Oe ad have idetical harmoic areas gravitatig aroud A mior, C major, E mior, ad G major. I spite of their similar harmoic compositio, each sog highlights differet aspects ad ideas behid the mutability preset i the piece. Ave Maria aligs with Mazel ad Berkov s ideas of triadic fuctio i 8 Bakulia. 26
peremeost, Salve Regia cotais aspects of Kholopov s lady modal ogo ad Miasoedov s pra-garmoiia, Po slogam a raspev highlights Yavorksy ad Protopopov s idea of melody creatig mutability, ad Pro slepogo features the importace of pitch cetricity i Kholopov s theory of modality-type peremeost. Aalyzig Coroa Carmium Sacrorum ad Azbuka through a Russia les reveals a complex theoretical traditio udereath the simple surface of the sogs. A mior w w w w 5 C major j - - - -, Бы - ла ночь Сле - пой нес свет пе - ред со - бой., + C : V i v i Example 2.16. About the Blid, mm. 5 6. Mutable progressio., 27
Example 2.17. About the Blid. E cetricity show i circled otes. 28
CHAPTER : ROSLAVETS S EARLY SYNTHETIC STYLE IN FOUR COMPOSITIONS FOR VOICE AND PIANO This chapter examies Roslavets s compositioal techiques ad use of orthography i his early years writig with sythetic chords. Roslavets composed Four Compositios for Voice ad Piao betwee the years 191 1914, begiig with Volkovo kladbišče ( Volkovo Cemetery ) i November 191, followed by Vï osite lyubov v izïskao flakoe ( You Carry Love i a Elegat Bottle ) i December 191, ad edig with Margaritki ( Daisies ) ad Kuk i February 1914. My aalysis combies voice-leadig aalysis ad set-theoretical approaches to reveal liear harmoic ad voice-leadig orgaizatio that help shape the orthographical ladscape i Roslavets s early sythetic compositios. Voice-leadig aalysis highlights the importace of orthography i the sogs ad reveals Roslavets s use of eharmoic pivots ad horizotal voice leadig to trasitio betwee orthographic extremes. I order to describe the orgaizatio of the sets withi a give musical passages, my three voice-leadig patters varied, derivative, ad cyclic show specific traspositioal distaces betwee chords. (These will be explaied below.) I will first discuss Roslavets s New System of Toal Orgaizatio, which will give a isight ito his compositioal method, as well as Roslavets s defiitio of sythetic chords. 84 I will the provide voice-leadig graphs of passages from the sogs stated above to show specific patters, which I defie as varied, derivative, ad cyclic, ad methods of orthographical trasitio withi the progressios. 84 Nikolay Roslavets, The New System of Toe Orgaizatio ad New Methods of Teachig the Theory of Compositio: Theses of Lectures, 1929. Traslated i: Bazayev, Composig with circles, spirals, ad lies of fifths: Harmoy ad Voice Leadig i the works of Nicolai Roslavets, 194. 29
I a 1927 lecture give i Moscow, Roslavets described sythetic chords as a further developmet of the classical system. 85 Sythetic chords evolve from diatoic modes ad triads used i the CLASSIC system ad are a growth of the four ad five ote chords foud i the music of Scriabi ad Debussy. 86 Roslavets defies sythetic chords as six to eight ote, chord that replaces the basic triad of classicism. 87 I Roslavets s NEW SYSTEM OF TONAL ORGANIZATION, sythetic chords have the ability to form voice leadig paths, uderlyig harmoies, ad dissoaces. Sythetic chords embrace ultrachromaticism ad feature extreme spelligs such as double flats ad double sharps. Roslavets states that he bases his compositios off the melodic ufoldig of sythetic chords. This chapter aalyzes the voice leadig ad orgaizatio of sythetic chords i Roslavets s early sogs usig a combiatio of associatioal ad voice-leadig aalytical methods. 88 Joseph Straus uses the term associatioal to describe Forte set-class aalysis as it depeds o the cotext of similar set classes to form relatioships. 89 I utilize set-classes to label the mai sythetic chords i each piece ad show the traspositioal relatioship betwee sythetic chords i each set class. Roslavets s use of multiple sythetic chords belogig to differet set classes withi a piece limits the abilities of a associatioal aalytical approach. Voice-leadig aalysis derives from Straus s Voice Leadig i Atoal Music ad reveals voices formed by the relatioships betwee chords urelated by set class. 90 Straus defies a voice as a maifestatio of a uderlyig pitch class couterpoit 85 Iessa Bazayev, Composig with circles, spirals, ad lies of fifths: Harmoy ad Voice Leadig i the works of Nicolai Roslavets (PhD diss., City Uiversity of New York, 2009), 226. 86 Roslavets, The New System of Toe Orgaizatio ad New Methods of Teachig the Theory of Compositio: Theses of Lectures, 1929. Traslated i Bazayev, Composig with circles, spirals, ad lies of fifths: Harmoy ad Voice Leadig i the works of Nicolai Roslavets, 192 19. 87 Ibid, 194. 88 Joseph N. Straus, Voice Leadig i Atoal Music, i Music Theory i Cocept ad Practice, ed. by James M. Baker, David W. Beach, ad Joatha W. Berard (Rochester: Uiversity of Rochester Press: 1997), 27 29. 89 Ibid, 27 29. 90 Ibid, 241. 0
that forms voice leadig betwee voices i differet chords. 91 Usig voice leadig graphs to aalyze progressios formed by sythetic chords i Roslavets s sogs reveals highly traspositio like (chords are ot related by set class, but are oly offset by oe, or two itervals) relatioships betwee differet sizes ad set classes of sythetic chords. 92 Sythetic chords that belog to the same set class display uiform voice leadig i that all voices move at the same traspositioal level. 9 Examples.5 ad.11 illustrate uiform voice leadig. My aalysis asserts the importace of orthography ad uses voice-leadig graphs to show the orthography of each chord ad highlight Roslavets s use of his stadard method of orthographical trasitio ad eharmoic pivots. The traspositioal relatioships formed betwee the chords ad show i the trasformatioal voice leadig graphs fall ito three categories: varied, derivative, or cyclic. Cyclic traspositio refers to iterval cycles. Derivative traspositio occurs whe the traspositioal levels derive from the arithmetic differece betwee the traspositioal idexes of two subsequet chords ad features two types: proportioal ad ested. Proportioal derivative traspositio happes whe the same umber is added or subtracted betwee traspositios ad ested derivative traspositio occurs whe two traspositioal levels share a relatioship to a cetral level. Varied traspositio occurs i a progressio whe there is o uifyig patter betwee traspositioal levels. Combiig a voice-leadig aalytical approach dealig with orthography ad a associatioal approach showig traspositioal orgaizatio highlights the coectios betwee Roslavets s NEW SYSTEM OF TONAL ORGANIZATION ad the CLASSIC system from which it stems. 91 Straus, Voice Leadig i Atoal Music, 241 242. 92 Joseph N. Straus, Uiformity, Balace, ad Smoothess i Atoal Voice Leadig, Music Theory Spectrum 25 (200), 18. 9 Ibid, 14. 1
I Four Compositios for Voice ad Piao, cyclic traspositio fuctios to move i betwee differet pitch class sets of the same sythetic harmoy ad orthographical areas. Example.1 shows a T cycle i mm. 46 47 of You Carry Love that shifts the orthography of the piece from all-sharp spelligs to all flat. The orthographical chage betwee the voices i each subsequet chord exemplifies Roslavets method of stadard orthographical trasitio. Notes with sharp or flat orthography lead to otes with the same, or atural, orthography i the followig chord. O a larger scale, Example.1 cotais a eharmoic pivot. Eharmoic pivots are a pitch or chord that appears eharmoically either adjacetly or at the start ad fiish of a progressio that shifts the harmoy to differet orthographical areas. These eharmoic pivots ucover the importace ad fuctio of orthography i Roslavets s NEW SYSTEM. Here, the eharmoic pivot is the opeig [5,6,8,t,e,1,] pitch-class set (chord 1) that starts the progressio ad the same pitch class set that eds it (chord 5). The pitch-class set [5,6,8,t,e,1,] at start of the T cycle cotais all-sharp orthography ad the the cycle carries the chords to atural orthography i chord ad cocludes with the eharmoically re-otated chord 5 with all-flat orthography. The use of a eharmoic pivot i mm. 46 47 reveals harmoic cotiuity betwee differet orthographical areas ad presets a fuctio of cyclic traspositio i Roslavets s NEW SYSTEM. Measures 10 11 of Kuk feature a similar method of usig cyclic traspositio i cojuctio with a eharmoic pivot. Example.2 shows that the [0,1,,4,6,8,9] harmoy i chord 1 appears eharmoically re-otated i chord 6 ad trasitios the music from sharp ad double-sharp orthography to atural ad flat orthography. Similar to Example.1, the voices betwee the chords follow Roslavets s stadard method of orthographical trasitio with the additio of double sharps movig to atural spelligs. Example.2 does ot cotai perfect cyclic 2
traspositio sice the patter breaks betwee chords 5 ad 6, but it does emphasize the relatioship betwee cyclic traspositio ad orthographical trasitio. 46 # # за - пах роз ме - чты мо # # #. ## # #. # π # # # # # # # # # J cresc. poco a poco cresc. poco a poco b b. ей не по - хо - ро - дит, 1 2 4 5 -.. b b b b. b. J bb b b b b. J b b b [5,6,8,t,e,1,] [8,9,e,1,2,4,6] [e,0,2,4,5,7,9] [2,,5,7,8,t,0] [5,6,8,t,e,1,] T T T T Example.1. Eharmoic pivot that begis ad eds a progressio i mm. 46 47 of You Carry Love. The T 7 cycle begis to shift the spellig from sharps to flats ad aturals usig the stadard method orgaizatio, which the eharmoic pivot stregthes. Daisies features cyclic traspo-