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Contents

Music in the Nineteenth Century

HOW FAR CAN YOU STRETCH A DOMINANT?

Chapter:
CHAPTER 10 Deeds of Music Made Visible (Class of 1813, I)
Source:
MUSIC IN THE NINETEENTH CENTURY
Author(s):
Richard Taruskin

But before making closer inspection of Wagner's mechanisms of arousal, a general comment will be in order. As the most influential composer of the later nineteenth century, Wagner had an effect on his progeny similar to Beethoven's. Just as a multitude of nineteenth-century composers in the “post-Beethoven period” claimed Beethoven as a father however antagonistic their positions, so did a multitude of turn-of-the-century and early twentieth-century composers in the period post-Wagner claim descent from him. And just as Beethoven's contesting heirs made of him what they would, so did Wagner's. On the basis of the chromaticized harmony and the fluid modulatory schemes that we have observed in Götterdämmerung and will observe in Tristan, Wagner has been cast by many of his followers as the subverter or saboteur of tonal harmony.

Citation (MLA):
Richard Taruskin. "Chapter 10 Deeds of Music Made Visible (Class of 1813, I)." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 19 Dec. 2014. <http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-010010.xml>.
Citation (APA):
Taruskin, R. (n.d.). Chapter 10 Deeds of Music Made Visible (Class of 1813, I). In Oxford University Press, Music in the Nineteenth Century. New York, USA. Retrieved 19 Dec. 2014, from http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-010010.xml
Citation (Chicago):
Richard Taruskin. "Chapter 10 Deeds of Music Made Visible (Class of 1813, I)." In Music in the Nineteenth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 19 Dec. 2014, from http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-010010.xml
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