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This study seeks to establish a better understanding of the harmonic syntax of Frederick Delius (1862 - 1934) by analyzing and examining his lesser known chamber music, especially works composed after 1905. The chosen chamber works provide a more disciplined source for investigating the highly chromatic language of his mature period. More specifically, this study provides a systematic description of Delius's chromatic harmony by analyzing these works that inhabit the ambiguous realm of early twentieth-century diatonic and chromatic tonality. As a basic step, it examines the general characteristics of Delius's harmonic vocabularies and resources through statistical analysis, and discusses common vertical sonorities and their arrangements, orders, and connections. It examines his characteristic devices, interpolation and substitution, which transform a diatonic into a chromatic passage - for instance, a circle-of-fifths progression into a linear progression. The examination of Delius's distinctive harmonic progressions based on linear scalar motion and chromatic mediant relations reveals the fact that, although he adorned progressions with colorful chromatic harmonies, his system at the middle-ground level is still based on traditional underpinnings. The examination of harmonic progressions also shows his employment of both the common pedal point and the internal broken pedal point to interconnect remotely related chromatic chords and to establish the tonal center. Through examining Delius's reharmonization techniques in repeated figures, sequences, and themes, the study not only describes the application of the various devices of harmonic syntax, but also their roles in the construction of a structural unity. Finally, this analysis reveals how manipulations of harmonic devices affect the overall formal structure. |
