Hexatonic poles and the uncanny in Parsifal

Opera Quarterly

Volumn 22, Issue 2, 2006, Pages 230-248

  Cohn, Richard ^a  

^a NONE

Author keywords

[No Author keywords available]

Indexed keywords

EID: 61449513293     PISSN: 07360053     EISSN: None     Source Type: Journal    
DOI: 10.1093/oq/kbl008     Document Type: Article

References (13)

1. Sigfrid Karg-Elert, Polaristische Klang-und Tonalitätslehere (Harmonologik) (Leipzig, Germany: F. E. C. Leuckart, 1930), p. 282
2. Richard Cohn, "Uncanny Resemblances: Musical Signification in the Freudian Age," Journal of the American Musicological Society 57, no. 2 (2004): pp. 285-323
3. Lendvai, Verdi and Wagner, trans. Monika Palos and Judit Pokoly (Budapest, Hungary: International House, 1988), pp, 140-43
4. David Lewin, "Amfortas's Prayer to Titurel and the Role of D in Parsifal: The Tonal Spaces of the Drama and the Enharmonic C/B," 19th-Century Music 7, no, 3 (1984): pp. 336-49
5. Lewin, "Some Notes on Analyzing Wagner: The Ring and Parsifal," 19th-Century Music 16, no. 1 (1992): pp. 49-58
6. and Fred Lerdahl, Tonal Pitch Space (New York: Oxford University Press, 2001), pp, 298-301
7. See, for example, Lendvai, Workshop, p. 377
8. and Lewin, "Some Notes," p. 57
9. William Kinderman, "Die Enstehung der 'Parsifal'-Musik," Archiv für Musikwissenschaft 52, no. 1 (1995): pp. 96-97
10. See Richard Parncutt, Harmony: A Psychoacoustical Approach (Berlin, Germany: Springer-Verlag, 1989), p. 149
11. Patrick McCreless, "Motive and Magic: A Referential Dyad in Parsifal," Music Analysis 9, no, 3 (1990); p. 229
12. Robert Bailey, "The Structure of the Ring and its Evolution," 19th-century Music 1, no. 1 (1977), pp. 48-61
13. See Warren Darcy, "'Die Zeit ist da': Rotational Form and Hexatonic Magic in Act 2, Scene 1 of Parsifal," in Kinderman and Syer, Companion