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The ''Elektra'' chord is a "complexly dissonant signature-chord"〔Lawrence Kramer. "Fin-de-siècle Fantasies: ''Elektra'', Degeneration and Sexual Science", ''Cambridge Opera Journal'', Vol. 5, No. 2. (Jul., 1993), pp. 141-165.〕 and motivic elaboration used by composer Richard Strauss to represent the title character of his opera ''Elektra'' that is a "bitonal synthesis of E major and C-sharp major" and may be regarded as a polychord related to conventional chords with added thirds,〔H. H. Stuckenschmidt; Piero Weiss. "Debussy or Berg? The Mystery of a Chord Progression", ''The Musical Quarterly'', Vol. 51, No. 3. (Jul., 1965), pp. 453-459.〕 in this case an eleventh chord. In ''Elektra'' the chord, Elektra's "harmonic signature" is treated various ways betraying "both tonal and bitonal leanings...a dominant 4/2 over a nonharmonic bass. Like Elektra herself, this chord is both monomaniacal and polymorphic." It is associated as well with its seven note complement which may be arranged as a dominant thirteenth〔 while other characters are represented by other motives or chords, such as Klytämnestra's contrasting harmony. The Elektra chord's complement appears at important points and the two chords form a 10-note pitch collection, lacking D and A, which forms one of Elektra's "distinctive 'voices'"〔Carolyn Abbate, 'Music and Language in Elektra', in ''Richard Strauss: Elektra'', ed. Derrick Puffett, Cambridge Opera Guides (Cambridge, 1989), 107-27. Cited in Kramer (1993), p.156.〕 The chord is also found in Claude Debussy's ''Feuilles mortes'', where it may be analyzed as an appoggiatura to a minor ninth chord, and Franz Schreker's ''Der ferne Klang'', and Alexander Scriabin's Sixth Piano Sonata.〔 ==See also== *Mystic chord *Petrushka chord *Psalms chord *Tristan chord 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Elektra chord」の詳細全文を読む スポンサード リンク
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