Rereading Franz Liszt’s (1811-86) Late Piano Works in the Light of Modulatory and Reo-riemannian Theories: A Tribute to the Composer on the Bicentenary of His Birth

PrintPrint
English
Type: 
Master, Doctorate and Post-Doctorate
Main researcher: 
Miguel Ribeiro-Pereira
Team elements (%affectation): 
Yale University, Department of Music | University of Rochester, Eastman School of Music
Abstract: 

This project seeks to explain the peculiar and puzzling features of Liszt’s late piano works (1880-85) — theoretical or analytical, aesthetical or critical — in the light of my cognitive model of harmonic modulation. This is an essentially plastic process, developed from Aristotle´s original understanding of nature as an inner principle of change and stasis (metabole), whereby our musical mind shapes the harmonic tonal space.

First, my model ought to engage neo-Riemannian theory, the most influential to account for ultra-chromatic music, whose major proponents are based at Yale University. Now, the original scope has been deepened and expanded through a collaboration with the Eastman School of Music. Thereby arose the new “Teoria & Música” editorial series, a branch of Cadernos de Teoria das Artes.

Activities: 

Beginning: 2009
Renewal: 2013
Sponsored: Fundação para a Ciência e a Tecnologia (FCT) (SFRH/BPD/47959/2008)

State: 
Ongoing
Research group: 
Theory of Arts
Summary: 

This project seeks to explain the peculiar and puzzling features of Liszt’s late piano works (1880-85) — theoretical or analytical, aesthetical or critical — in the light of my cognitive model of harmonic modulation.
09/2009 to 12/2014