| | Polish Music Journal 4.2.01 - Konieczna: Style and Drama in Paderewski's Manru. |
 | | Despite the fact that Gypsies appear in the action of this opera only at the end of the second act (with the exception of Manru, of course), the presence of the augmented second in the melody from the beginning marks the ethnic distinction of the Gypsies and their alienation from the Polish villagers. |
 | | Therefore, the augmented second may also be heard when the ethnic difference of the Gypsies is the subject of lament, mockery, satire, and imitation by the village populace. |
 | | Augmented triads are dissonant and consist of two major thirds; they are among the harmonic means used to characterize supernatural elements in the opera, along with diminished tetrachords (used in the early 19th century) and octatonic scales (used in the late 19th century, especially by Rimsky-Korsakov). |
| www.usc.edu /dept/polish_music/PMJ/issue/4.2.01/koniecznamanru.html (7427 words) |