Harmonic language and triadic magic in the last 'fantastic' operas by Nikolay Rimsky-Korsakov

我的博士项目旨在对尼古拉·里姆斯基-科萨科夫的最后几部《神奇》歌剧(《沙皇萨尔坦的故事》、《不朽的卡什奇》、《看不见的基特日之城的传说》和《金色公鸡》)中的和声语言进行深入分析。正如理查德·塔鲁斯金三十年前(1985年)的一项开创性研究所表明的那样，里姆斯基在他的音乐中大量使用了非传统的和声技巧，如八面主义，更多地与他的学生斯特拉文斯基和二十世纪后期的实践联系在一起，最显著的是在描绘超自然或奇幻的时候。然而，自那以后，这样的探索几乎没有进一步深入，鉴于谐和理论在过去20年中的显著发展，这是一个更加明显的空白。这项研究将通过借鉴和发展当代音乐理论中的一些主要趋势，为这一历史上至关重要但被忽视的曲目提供一个创新的视角。

My PhD project seeks to conduct an in-depth analysis of the harmonic language in the last 'fantastic' operas by Nikolay Rimsky-Korsakov (The Tale of Tsar Saltan, Kashchey the Immortal, The Legend of the Invisible City of Kitezh and The Golden Cockerel). As demonstrated in a pioneering study by Richard Taruskin three decades ago (1985), Rimsky made significant use in his music of unconventional harmonic techniques such as octatonicism, more often associated with his pupil Stravinsky and later twentieth-century practice, most notably when depicting the supernatural or the fantastic. Yet such explorations have barely been taken further since then, a lacuna all the more notable given the remarkable developments in harmonic theory in the last two decades. This research will offer an innovative perspective on this historically crucial but neglected repertoire by drawing on and developing some of the major trends in contemporary music theory.