Unified field

In music unified field is often used to refer to the "unity of musical space" created by the free use of melodic as harmonic and harmonic as melodic material.

The technique is most associated with the twelve-tone technique, created by its "total thematicism" where a tone-row (melody) generates all (harmonic) material. It was also used by Scriabin, though from a diametrically opposed direction, created by his use of extremely slow harmonic rhythm which eventually led to his use of unordered pitch-class sets, usually hexachords (of six pitches) as harmony from which melody may also be created. (Samson 1977)

It may also be observed in Stravinsky's Russian period such as Les Noces from his use of folk melodies as generating material and influenced by shorter Debussy such as Voiles and Mussorgsky. Bartok's Bagatelles, and several of Casella's Nine Piano Pieces such as No. 4 "In Modo Burlesco" the close intervallic relationship between motive and chord creates or justifies the great harmonic dissonance. (Samson 1977)

See: Counterpoint.

Source

• Samson, Jim (1977). Music in Transition: A Study of Tonal Expansion and Atonality, 1900-1920. New York: W.W. Norton & Company. ISBN 0393021939.