(The progression I mean here is after the modulation to E major, where we hear I--[ii.sup.6.sub.5]--[N.sup.6]--[V.sup.7]--I.) Though a deviation from the immediate sense of
diatonicism, the Neapolitan chord here highlights an extremely important tone already presented earlier in the movement.
The music of "the Second Viennese School", which included composers Arnold Schoenberg and his pupils Anton Webern and Alban Berg, created a seismic shift in the western tradition of classical music, moving away from
diatonicism and towards heterodox terrain in tonality and form.
Diatonicism is abandoned and the chromaticism from the introduction is employed once again, which increases the intensity of the music as line four of the poem (mm.
The most salient traits of Kapral's style are unexpected modulations, flexible
diatonicism (mainly major/minor oscillations) and modality, employment of ninth, augmented and fourth chords, quasi improvisations, a penchant for repetition of the motif in various harmonic, dynamic and other connections, finales in pp, brilliant piano stylisations with spread chords in the left hand and use of extreme positions of instrumental playing.
Glinka's supporters were baffled, however, by the composer's next nationalist opera, Ruslan i Liudmila (1842), which abandoned the musical unity of A Life in favor of a mix of styles and replaced the folk stylizations of the earlier opera with West European
diatonicism. The two operas polarized a younger generation of composers: Petr Chaikovskii and Rubenshtein united behind A Life, while the more nationalist-minded composers of the so-called Moguchaia kuchka (Nikolai Rimskii-Korsakov, Cesar Kiui, Modest Musorgskii, Aleksandr Borodin, and Milii Balakirev) lined up behind Ruslan.
Chapters are devoted to recent techniques including free
diatonicism, serialism, and indeterminacy.
(34) The negative responses to Del Tredici's so-called 'neo-Romantic' music complained that its 'sentimental statement only comes across as a gross overstatement', (35) and that it has 'collapsed into simpleminded Victorian
diatonicism, melodic banality, and excess ...
Instead, Rooke repeats the last phrases of the B section text as the count tries to wander chromatically but is called back to the
diatonicism and broken chord accompaniment of the A section (mm.