{"id":{"repo_id":"buffalo","oai_identifier":"oai:ubir.buffalo.edu:10477/79892"},"canonical_url":"https://search.dev.ndltd.org/etd/buffalo/oai:ubir.buffalo.edu:10477/79892","repository":{"repo_id":"buffalo","name":"Buffalo","base_url":"https://ubir.buffalo.edu/oai/request"},"display":{"title":"Altered Dominant Chords with #2 and #4 in Prokofiev’s Romeo and Juliet, Op.64","abstract":"Ph.D.","abstract_html":"Ph.D.","abstract_has_math":false,"creators":["Song, Kyoung Jin"],"institution":"State University of New York at Buffalo","degree_name":null,"degree_level":null,"degree_discipline":null,"degree_department":null,"school":null,"contributors":["Moseley, Brian","Music"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2019,"date_issued":"2019-07-30T15:10:48Z","date_published":"2019-07-30T15:10:48Z","updated_at":"2026-07-27T19:05:19Z","subjects":["music theory","music","musical composition"],"languages":["eng"],"rights":["Users of works found in University at Buffalo Institutional Repository (UBIR) are responsible for identifying and contacting the copyright owner for permission to reuse. University at Buffalo Libraries do not manage rights for copyright-protected works and cannot assist with permissions.","Copyright retained by author."],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"http://hdl.handle.net/10477/79892","outbound_label":"Handle","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Moseley, Brian","Music"]},{"key":"dc:creator","label":"Author","values":["Song, Kyoung Jin"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2019-07-30T15:10:48Z","2019","2019-05-16 10:07:44"]},{"key":"dc:publisher","label":"Institution","values":["State University of New York at Buffalo"]},{"key":"dc:type","label":"Dc Type","values":["Text","Dissertation"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["music theory","music","musical composition"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["eng"]},{"key":"dc:rights","label":"Dc Rights","values":["Users of works found in University at Buffalo Institutional Repository (UBIR) are responsible for identifying and contacting the copyright owner for permission to reuse. University at Buffalo Libraries do not manage rights for copyright-protected works and cannot assist with permissions.","Copyright retained by author."]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["http://hdl.handle.net/10477/79892"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["Ph.D.","Sergei Prokofiev, who blended tradition and innovation in his music, remains one of the most popular composers from the early twentieth century. Some theorists have used the expression, “wrong notes,” to describe his unorthodox chord palette. Richard Bass deals with the wrong note as a chromatic displacement in his essay, “Prokofiev’s Technique of Chromatic Displacement.” For Bass, the chromatic displacement is a substitution for and representative of the diatonic tone and the relationship between displacement and a diatonic tone is a semitone. My research agrees with this perspective that Prokofiev’s music is fundamentally tonal and makes use of semitone relationships between the diatonic tone and chromatic displacement, the difference is that my analysis is only on a surface structure as altered chords. This dissertation explores his use of “new” dominants with #2 and #4 at cadences in Romeo and Juliet, Op. 64. I found diverse dominants containing the two tones throughout the piece; my research proves he used these chords consciously and intentionally. There are four such dominants: the #2-dominant, #4-dominant, #2-#4-dominant, and compound dominants combining 2 and 4. Each dominant can be further subdivided based on its chordal constituents. Dominants used to express main characters such as Romeo and Juliet, take part in the Romeo cadence which uses a #2-#4-dominant: <#2, #4, 5, 7>. Juliet’s first theme uses similar chord members and appears as a Compound dominant (CPD): <#2, 4, #4, 5, 7>. The purpose of this dissertation is to establish Prokofiev’s harmonic syntax through his use of special dominant chords."]},{"key":"dc:format","label":"Dc Format","values":["application/pdf"]},{"key":"dc:title","label":"Title","values":["Altered Dominant Chords with #2 and #4 in Prokofiev’s Romeo and Juliet, Op.64"]}]}],"canonical_facts":{"dc:contributor":["Moseley, Brian","Music"],"dc:creator":["Song, Kyoung Jin"],"dc:date":["2019-07-30T15:10:48Z","2019","2019-05-16 10:07:44"],"dc:description":["Ph.D.","Sergei Prokofiev, who blended tradition and innovation in his music, remains one of the most popular composers from the early twentieth century. Some theorists have used the expression, “wrong notes,” to describe his unorthodox chord palette. Richard Bass deals with the wrong note as a chromatic displacement in his essay, “Prokofiev’s Technique of Chromatic Displacement.” For Bass, the chromatic displacement is a substitution for and representative of the diatonic tone and the relationship between displacement and a diatonic tone is a semitone. My research agrees with this perspective that Prokofiev’s music is fundamentally tonal and makes use of semitone relationships between the diatonic tone and chromatic displacement, the difference is that my analysis is only on a surface structure as altered chords. This dissertation explores his use of “new” dominants with #2 and #4 at cadences in Romeo and Juliet, Op. 64. I found diverse dominants containing the two tones throughout the piece; my research proves he used these chords consciously and intentionally. There are four such dominants: the #2-dominant, #4-dominant, #2-#4-dominant, and compound dominants combining 2 and 4. Each dominant can be further subdivided based on its chordal constituents. Dominants used to express main characters such as Romeo and Juliet, take part in the Romeo cadence which uses a #2-#4-dominant: <#2, #4, 5, 7>. Juliet’s first theme uses similar chord members and appears as a Compound dominant (CPD): <#2, 4, #4, 5, 7>. The purpose of this dissertation is to establish Prokofiev’s harmonic syntax through his use of special dominant chords."],"dc:format":["application/pdf"],"dc:identifier":["http://hdl.handle.net/10477/79892"],"dc:language":["eng"],"dc:publisher":["State University of New York at Buffalo"],"dc:rights":["Users of works found in University at Buffalo Institutional Repository (UBIR) are responsible for identifying and contacting the copyright owner for permission to reuse. University at Buffalo Libraries do not manage rights for copyright-protected works and cannot assist with permissions.","Copyright retained by author."],"dc:subject":["music theory","music","musical composition"],"dc:title":["Altered Dominant Chords with #2 and #4 in Prokofiev’s Romeo and Juliet, Op.64"],"dc:type":["Text","Dissertation"]},"updated_at":"2026-07-27T19:05:19Z"}