In Part I, I draw from Hepokoski's theory of deformation and the aesthetic category of the grotesque to interpret the shattering climax at the end of Richard Strauss's Salome. I suggest that the climax involves a kind of hyperdissonance—a higher-order negative engagement of melodic/harmonic frames—and outline a theoretical model for its pitch organization. In Part II, the implications of this idea for understanding aspects of post-Romantic harmony and aesthetics more generally are explored through analyses of passages by Strauss, Rachmaninoff, Mahler, and Prokofiev.
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