Dissertation: Chromatische Stimmführungen, ihre Auswirkung auf sowie ihre Integration in die Phänomene Tonalität, Harmonik und Modulation in den Orgelwerken Max Regers

Chromatische Stimmführungen, ihre Auswirkung auf sowie ihre Integration in die Phänomene Tonalität, Harmonik und Modulation in den Orgelwerken Max Regers

Regertypische Harmonie-, Tonalitäts- und Modulationsprozesse aufgrund einer ausgeprägten chromatischen Satztechnik in seinen Orgelwerken

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Studien zur Musikwissenschaft, volume 38

Hamburg , 890 pages

ISBN 978-3-8300-8603-1 (print) |ISBN 978-3-339-08603-7 (eBook)

About this book deutschenglish

The technique of composition from Max Reger is essentially stamped by chromatic voice-leadings, their will influence tonality, harmonic and modulation and will be integrational part of the harmonic trias. Inside Regers epoch the chromatic technique of composition evoke comparatively outstanding and revolutionary expansions of tonality and determinate inside his epoch a harmonic-tonal point of culmination. On the one hand the technique of composition in the new music is participating from Regers technique to set the notes chromatically, on the other hand preromantic compositions, as the baroques and the classics, has been prototypes for Reger. So Reger connects the stylistic of baroque, classic and (late) Romantic period and enriches them with his extraordinary ability by his enlarged use from chromatic to carry harmonic, tonality and modulation in new harmonic functional spheres. The terminus “new harmonic functional spheres” points to the post-epochal anticipating technical moment to set the notes by Reger.

To occupy with Regers chromatically tonality and harmonic is likewise exciting as instructive, will be opened with studying of the present book an admittance to the characteristic stylistic of composition from Max Reger as well as to improvise safe in the stylistic of late Romantic period (organ-)music.

The author comprehends it, to attach the personal style of Reger the compositional times of Regers organ-works as well as to lay open Regers comprehension of tonality compared to Regers contemporaries and forerunners through exactly detail-analysis, which embrace internal comparison-analysis between the organ-works of Max Reger and external comparison-analysis with works from Max Regers nearer and farther historical surroundings.

All in all this two volume extensive compendium to the chromatically technique to set the notes in the organ-works of Max Reger can serve as a creative and inspire groundwork for composers, organists, pianists and all enthusiasm adherent from the music of Max Reger and should be available in many university libraries.

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