Merry Christmas everyone with a new #WednesdayWagner instalment. Today: TRISTAN CHORD IN 'DIE WALKÜRE'! What happens next will surprise you
#Christmas #Wagner #Tristan #Walkure #TwitterCultural

Yesterday (all my troubles seemed...). No, seriously. Yesterday, I made a discovery that blew my mind and I am so happy to share it with you. Let's start by listening to Act 2, Scene 5 of 'Die Walküre' in a superb performance by Böhm in 1949
https://t.co/YHCnbeDPM3
The scene begins with the 'Fate' leitmotif, which was already presented in the thread below ⬇️Note that harmony goes from a minor chord to a dominant chord just 1 semitone below
https://t.co/6XNuHiZiS6
This sequence of chords are used in different keys, with different configurations, even as the closing part of the 'Annunciation of Death' motive (this can be listened to at 0.33 in the link above ⬆️)
The last bars of this 'Annunciation of Death' contains the 'Fate' motive with a slight variation of harmony. Notice that we can almost hear the Tristan Chord there (marked in red in the figure below).
If we replace the last bars with the beginning of Tristan, we would obtain this ... Notice the similarities!!! Indeed, the only pitch in 'Annunciation of Death' not belonging to the Tristan chord (B above) is the one that appears in the melodic movement
But that's not all. At 10.00 in this scene (link below ⬇️) we can hear the Tristan Chord perfectly, resolving into it's Tonic and also with the same pitches (same tonality) as the one appearing at the beginning of Tristan
https://t.co/rFE4nFS9hC
You can see here the score ... Sincerely, that was an incredible surprise to me when I discovered it yesterday. Look at the pitches that are involved in the last pulse: The TRISTAN CHORD. Just the resolution is missing the appoggiatura A#-B in the next chord
The obvious question is: Was this a chance? Did Wagner (the real one 😂) used it consciously, or unconsciously? Well, I cannot assure that, BUT I find 2 interesting points:
1) The first quasi-Tristan chord appears in the 'Annunciation of Death' leitmotif. And 'Tristan und Isolde' plot has lot to say about longing for death, redemption by death, similarities between love and death ... So it seems that this chord's meaning is clearly 'Death'
2) The clear Tristan chord at 'Die Walküre' appears when Siegmund sings "zu ihnen folg' ich dir nicht!", refusing to follow Brünnhilde to Walhalla to meet Wotan and the other Gods ... So this chord is also linked to death, although in this case Siegmund is fighting against it
In summary: it's wonderful to see how something extremely new as the Tristan Chord was already used before in almost the same way. Of course, the musical implications are not fully extended in 'Die Walküre', but the idea, the intention, the seed ... All of this was already there!
To end this thread, enjoy the whole Act 2 under Fürtwangler, Wiener Philharmoniker and a wonderful cast. Merry Christmas everyone
https://t.co/1q3Ng2Mb4i

More from For later read

The common understanding of propaganda is that it is intended to brainwash the masses. Supposedly, people get exposed to the same message repeatedly and over time come to believe in whatever nonsense authoritarians want them to believe /1

And yet authoritarians often broadcast silly, unpersuasive propaganda.

Political scientist Haifeng Huang writes that the purpose of propaganda is not to brainwash people, but to instill fear in them /2


When people are bombarded with propaganda everywhere they look, they are reminded of the strength of the regime.

The vast amount of resources authoritarians spend to display their message in every corner of the public square is a costly demonstration of their power /3

In fact, the overt silliness of authoritarian propaganda is part of the point. Propaganda is designed to be silly so that people can instantly recognize it when they see it


Propaganda is intended to instill fear in people, not brainwash them.

The message is: You might not believe in pro-regime values or attitudes. But we will make sure you are too frightened to do anything about it.
Excited we finally have a draft of this paper, which attempts to provide a 'unifying theory' of the long economic divergence between the Middle East & Western Europe

As we see it, there are 3 recent theories that hit on important aspects of the divergence...

1/


One set of theories focus on the legitimating power of Islam (Rubin, @prof_ahmetkuru, Platteau). This gave religious clerics greater power, which pulled political resources away form those encouraging economic development

But these theories leave some questions unanswered...
2/

Religious legitimacy is only effective if people
care what religious authorities dictate. Given the economic consequences, why do people remain religious, and thereby render religious legitimacy effective? Is religiosity a cause or a consequence of institutional arrangements?

3/

Another set of theories focus on the religious proscriptions of Islam, particular those associated with Islamic law (@timurkuran). These laws were appropriate for the setting they formed but had unforeseeable consequences and failed to change as economic circumstances changed

4/

There are unaddressed questions here, too

Muslim rulers must have understood that Islamic law carried proscriptions that hampered economic development. Why, then, did they continue to use Islamic institutions (like courts) that promoted inefficiencies?

5/

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