{"id":6776,"date":"2026-05-29T21:10:31","date_gmt":"2026-05-29T21:10:31","guid":{"rendered":"https:\/\/harmahub.eu\/?post_type=harmanalysis_repo&#038;p=6776"},"modified":"2026-05-29T21:10:31","modified_gmt":"2026-05-29T21:10:31","slug":"formal-and-harmonic-coherence-in-franz-liszts-ballade-no-2-in-b-minor","status":"publish","type":"harmanalysis_repo","link":"https:\/\/harmahub.eu\/es\/harmanalysis_repo\/formal-and-harmonic-coherence-in-franz-liszts-ballade-no-2-in-b-minor\/","title":{"rendered":"Formal and Harmonic Coherence in Franz Liszt\u2019s  Ballade No. 2 in B Minor"},"content":{"rendered":"<p>This study examines Franz Liszt\u2019s <em>Ballade No. 2 in B minor, S.171<\/em> (1853) as a work that reconciles narrative expressivity with formal discipline. While frequently interpreted as a programmatic composition, the Ballade demonstrates a carefully controlled large-scale structure shaped by thematic transformation and a highly individualized approach to tonality. Rather than relying on conventional formal models, Liszt develops a musical discourse in which a limited number of ideas under continuous transformation, generating both unity and contrast throughout the piece.<\/p>\n<p>A central feature of the work lies in its directional tonal design, where harmonic movement is not merely functional but expressive and goal-oriented. Tonal regions are interconnected through close relationships, contributing to a sense of progression and coherence that supports the unfolding musical narrative. At the same time, Liszt\u2019s harmonic language\u2014rich in chromaticism and enharmonic reinterpretation\u2014expands traditional boundaries while maintaining structural clarity.<\/p>\n<p>The Ballade ultimately achieves a synthesis between formal rigor and poetic imagination. Its conclusion, marked by a transformation of tonal character, suggests resolution not as a simple return but as the outcome of an extended process. In this way, the work exemplifies Liszt\u2019s mature style, in which innovation and tradition are brought into a compelling and unified musical vision.<\/p>\n","protected":false},"featured_media":0,"template":"","harma_source":[1429],"harma_musical":[3108],"harma_year":[3109],"harma_composer":[3025],"harma_methods":[1384,1386,1407,1385],"harma_level":[1409,1408],"harma_study":[1388,1306,1410],"disciplines":[2517,2533],"tax_biblography_categrories":[2519,2515,2535,2539,2536],"analysis_tags":[3110,3111],"authors_filters":[],"class_list":["post-6776","harmanalysis_repo","type-harmanalysis_repo","status-publish","hentry","harma_source-score","harma_musical-ballade-no-2-in-b-minor-s-171","harma_year-3109","harma_composer-franz-liszt","harma_methods-conventional-traditional-analysis","harma_methods-formal-analysis","harma_methods-other","harma_methods-structural-analysis","harma_level-advanced","harma_level-intermediate","harma_study-bachelor","harma_study-master","harma_study-phd-and-professional","disciplines-1-harmony","disciplines-2-music-analysis","tax_biblography_categrories-0-tonal-harmony","tax_biblography_categrories-8-tonal-music","tax_biblography_categrories-12-conventional-traditional-analysis","tax_biblography_categrories-14-structural-analysis","tax_biblography_categrories-16-formal-analysis","analysis_tags-formal-analysis","analysis_tags-harmonic-analysis"],"acf":[],"_links":{"self":[{"href":"https:\/\/harmahub.eu\/es\/wp-json\/wp\/v2\/harmanalysis_repo\/6776","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/harmahub.eu\/es\/wp-json\/wp\/v2\/harmanalysis_repo"}],"about":[{"href":"https:\/\/harmahub.eu\/es\/wp-json\/wp\/v2\/types\/harmanalysis_repo"}],"version-history":[{"count":2,"href":"https:\/\/harmahub.eu\/es\/wp-json\/wp\/v2\/harmanalysis_repo\/6776\/revisions"}],"predecessor-version":[{"id":6778,"href":"https:\/\/harmahub.eu\/es\/wp-json\/wp\/v2\/harmanalysis_repo\/6776\/revisions\/6778"}],"wp:attachment":[{"href":"https:\/\/harmahub.eu\/es\/wp-json\/wp\/v2\/media?parent=6776"}],"wp:term":[{"taxonomy":"harma_source","embeddable":true,"href":"https:\/\/harmahub.eu\/es\/wp-json\/wp\/v2\/harma_source?post=6776"},{"taxonomy":"harma_musical","embeddable":true,"href":"https:\/\/harmahub.eu\/es\/wp-json\/wp\/v2\/harma_musical?post=6776"},{"taxonomy":"harma_year","embeddable":true,"href":"https:\/\/harmahub.eu\/es\/wp-json\/wp\/v2\/harma_year?post=6776"},{"taxonomy":"harma_composer","embeddable":true,"href":"https:\/\/harmahub.eu\/es\/wp-json\/wp\/v2\/harma_composer?post=6776"},{"taxonomy":"harma_methods","embeddable":true,"href":"https:\/\/harmahub.eu\/es\/wp-json\/wp\/v2\/harma_methods?post=6776"},{"taxonomy":"harma_level","embeddable":true,"href":"https:\/\/harmahub.eu\/es\/wp-json\/wp\/v2\/harma_level?post=6776"},{"taxonomy":"harma_study","embeddable":true,"href":"https:\/\/harmahub.eu\/es\/wp-json\/wp\/v2\/harma_study?post=6776"},{"taxonomy":"disciplines","embeddable":true,"href":"https:\/\/harmahub.eu\/es\/wp-json\/wp\/v2\/disciplines?post=6776"},{"taxonomy":"tax_biblography_categrories","embeddable":true,"href":"https:\/\/harmahub.eu\/es\/wp-json\/wp\/v2\/tax_biblography_categrories?post=6776"},{"taxonomy":"analysis_tags","embeddable":true,"href":"https:\/\/harmahub.eu\/es\/wp-json\/wp\/v2\/analysis_tags?post=6776"},{"taxonomy":"authors_filters","embeddable":true,"href":"https:\/\/harmahub.eu\/es\/wp-json\/wp\/v2\/authors_filters?post=6776"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}