I will be presenting '“Revisiting the Tonality of Dukas's Rameau Variations:  A Metamorphosis of Chromatic to Diatonic Pitches” at Society for Music Theory -Rocky Mountain Chapter- Annual Conference at Utah State University, Logan, UT. Below is an abstract of my study.

Piano repertoires from the Fin-de-siècle era, including those of Paul Dukas, are increasing analytical interest. In particular, Dukas's Variation, Interlude, et Finale sur un Thème de Rameau is recognized as an embodiment of the French spirit, garnering praise for being “genuinely French” and demonstrating “French lucid principles of balance and logic.”

The proposed research expands on this analytical approach by implementing a broader perspective focused on the motivic, harmonic, and structural interrelationship. Background graphs provide coherence lacking in the previous microscopic approach due to the untraditional harmonic idiom, dense polyphonic texture, and extreme chromaticism.

Specifically, this analysis involves reexamining local chromatic pitches as tonally functioning tones at the global level, which are functionally similar to traditional voice-leading practice. This includes metamorphosis of nonresolving nonharmonic to diatonic tones, chromatic passing tones to predominant substitution, and nonfunctioning harmonic progression to goal-directed continuation. Additionally, this study emphasizes how intervallic relationships anticipate higher structural levels of tonal foreshadowing in later variations. 

Consequently, the Rameau Variations become more distinguished from atonally designed music, highlighting the tonal foundation that institutes Dukas’s harmonic language and solidifying their place as an important and unique contribution to the musical canon, which is a testament to his genius.