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Music and Letters 2005 86(1):74-99; doi:10.1093/ml/gci004
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© Oxford University Press 2005; all rights reserved

Bruckner and the Phrygian Mode

Anthony F. Carver,

Queen’s University Belfast

The re-emergence of modality in the harmonic language of nineteenth-century music is illustrated with examples drawn from Beethoven. The characteristics of the Phrygian mode are examined and it is argued that in some of Bruckner’s small-scale sacred works he employs it as the principal tonal centre. Bruckner treats the Phrygian mode in his symphonies as a third force alongside major and minor tonality, especially in the Sixth Symphony, in which its juxtaposition with the nominal key of A major generates the central tonal argument.


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