Abstract
ABSTRACTThis article discusses ‘New Scale Modulations’, an unusual piece attributed to Franz Liszt by Rosemary Brown (1916–2001), a British composer who claimed to be a spirit medium. ‘New Scale Modulations’ ‘invents’ four key signatures that correspond to four transpositions of the same mode. The ‘New Scale’ and the way it is used establishes a unique mediation between two independent worlds: that of verbunkos asymmetrical scales and that of symmetrical musical thinking, especially hexatonic scales and triadic transformations. By this means, ‘New Scale Modulations’ establishes a deep and rational dialogue with Liszt's harmonic language, incorporating several elements of the verbunkos and Zukunftsmusik. Without ‘proving’ Brown's spirit medium claims, ‘New Scale Modulations’ challenges the view of her as no more than a superficial and intuitive imitator.
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