K. Pendercki의 신낭만주의 음악의 화성어법

K. Penderecki`s Neo-romanticism can be defined like this: the harmonic idioms of the late-romantic works are systemized in the new harmonic context. In other words, the substance of his new compositional style can be estimated to be beyond the late-romantic harmony in manipulating the distance of tonal relationship as well as maximizing all of available harmonic idioms through applying the function of harmony to all of chords. Although his Neo-romantic works are based on diatonic harmonic context, but when needed, some chords can be transposed to the other chords which are laid in minor 3rds or tri-tone interval having same functions. So the degree of tonal relativity of each chord can be controlled remaining the functional context of harmony. Like this, his succeeded creating new harmonic context by transposing any chord within diatonic harmonic progression to the other chords which remain original harmonic functions though its harmonic context is unfamiliarly varied.