Search Results for cadence

... Musiktheorie 5. Darmstadt: Wissenschaftliche Buchgesellschaft. Schrade, Leo, ed. 1956 . Polyphonic Music of the Fourteenth Century, Vols. 2-3: The Works of Guillaume de Machaut. Les Ramparts, Monaco: Editions de L'Oiseau Lyre. THEORIZING THE CADENCE IN THE MUSIC OF MACHAUT...

... important tonal events such as prolongations and cadences. Using diatonic position finding to aid the analyst in determining a chord’s status, the article offers five preference factors to identify the most likely triadic tonicizers. This leads to some general conclusions regarding tonicizing chords...

..., such as form-functional contrast among P, S, C, and coda; characteristics that signal end-of-the-beginning versus end-of-the-end functions for cadences; the interaction of tonal pairing and formal design; and Dvořák’s recapitulatory reinterpretations of his expositional strategies. The analyses illustrate...

... procedure, tintinnabulation, sometimes governs melodic procedure and has melodic meaning while also making it possible to define and recognize harmonic areas, distinctions among harmonies, and systematic reasons for cadences. For instance, transformational expressions for Passio show the interpenetration...

... of events of long-range structural importance such as cadences that provide tonal and formal closure at the deepest level. Yale University 2009 Alan Dodson is Assistant Professor of Music Theory at the University of British Columbia. His current research on rhythm and performance in tonal music...

... simultaneously as a local, harmonic event and as a global, formal event. On the local level, it may either prolong one harmony or progress from one to another. On the global level, it can serve a variety of formal functions: highlighting salient cadences; opening a space for virtuosic display; and developing...

...-dominant chords at cadences (yielding tonic–pre-dominant–dominant–tonic syntax) more regularly than his models do. Finally, in the rare instances that he chooses models without periodic phrase structure, Morley introduces periodicity. Morley's recompositions contribute to the tonal sound that, historically...

... to the deepest level of tonal hierarchy, at which two Ursätze in different keys are joined together at the same hierarchical level. In the process, I offer a slight adaptation of the Schenkerian background paradigms to accommodate the imperfect authentic cadence with 3 ^ in the soprano, which in Russian church...

... this as a structure of A–A–B–A–B–A. Though P1 and P2 have almost nothing in common with P6, they are indirectly related by their similarity to P4, which ends similarly to P1/P2 and begins similarly to P6. The cadences of the phrases give at least provisional support...

... in terms of rhythm, and phrase three is a varied repetition of phrase one. Cadence points are on the normal pitches for the dorian mode, F, A, and D, here approached with the raised leading-tone.2 The second through fourth phrases demonstrate a unity of purpose...

... in Perspective: Essays on Musical Form from Haydn to Adorno , edited by Moortele Steven Vande Pedneault-Deslauriers Julie Martin Nathan John , 85 – 116 . Woodbridge : Boydell and Brewer . Burstein L. Poundie . 2015b . “The Half Cadence and Related Analytic Fictions ”. In What...

... . “The Classical Cadence: Conceptions and Misconceptions.” Journal of the American Musicological Society 57 / 1 : 51 – 118 . ———. 2009 . “What Are Formal Functions?” In Musical Form, Forms, and Formenlehre , ed. Bergé Pieter , 21 – 40 . Leuven : Leuven University Press . ———. 2013...

... Wagner’s peculiar forms with reference to these same principles. [8] With this view toward a creative life of the greatest formal abun- dance, we now set foot upon the difficult and somewhat barren path of theory.6 I. Harmonic Logic.7 [9] 1. Cadence. M. Hauptmann would...

..., Ratner defines it as “a complete statement” (1980: 33), which makes it roughly equivalent to Koch's main punctuation section ( Haupttheil ). As a result, he admits of periods which close with (perfect or imperfect) authentic cadences and half cadences (34–35). Burstein makes clear that Perioden close...

... the large-scale orga- nization, I concentrate on events that divide the two expositions into smaller units, for example, phrase endings, cadences, modulations, and boundaries of prolonged harmonies. The dramatic arch of an exposition consists, among...

..., 25–34) argue persuasively, however, that this latter view arises from a confusion between different kinds of accent. The end of a phrase is often the site of a structurally important event such as a cadence, sig- nalling tonal arrival and closure; however, such “structural accents” may or may...

..., “Tonraum,” the quintessential melodic space in the background, is effectively limited to an octave.3 In strict species coun- terpoint, the cantus firmus must begin and end on the tonic (or modal final), and cadences in two voices require arrival at an octave or unison via contrary stepwise motion...