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Axis Tonality and Golden Section Theory Reconsidered

Kárpáti, János

Akadémiai Kiadó

2006

info:eu-repo/date/embargoEnd/2026-09-30

M1 Music / zene

M10 Theory and philosophy of music / zeneelmélet, muzikológia

After three decades of our personal, publicly conducted discussion with Ernő Lendvai, in 1999 at a conference organized in memory of Bence Szabolcsi, I raised again my objections related his theories. Since my lecture was given in Hungarian, and its printed version was published in Hungarian language (Muzsika 2000, Bartók-analitika 2003), I feel necessary to present some of my objetions on an international forum as well, with particular aspect to the fact that in the Bartók literature - in spite of serious criticism (Petersen, Gillies) - several analysts employ up to now Lendvai's theories in a servile way. My objections are focussed upon four points. 1. The extension of Riemann's three-function theory to the twelvetone system is a theoretical arbitrariness and an impasse. 2. The axis interpretation of the tonalities - by identification of polar keys - is in flat contradiction with Bartók's tonal thinking. 3. The pentatony interpreted as a golden section system is very much doubtful according basic experiences of the ethnomusicology. 4. The typical Bartókian chord structures - named by Lendvai  α, β etc. - are phenomenologically correct, but their interpretation by Fibonacci figures is arbitrary, because the actual intervals represent another ratios.

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text

http://real.mtak.hu/65347/1/smus.47.2006.3-4.15.pdf

Kárpáti, János (2006) Axis Tonality and Golden Section Theory Reconsidered. Studia Musicologica Academiae Scientiarum Hungaricae, 47 (3-4). pp. 417-426. ISSN 0039-3266

http://real.mtak.hu/65347/

https://doi.org/10.1556/SMus.47.2006.3-4.15

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