..., Jehan. 1623. “Au lecteur.” In Hymnes de l'église pour toucher sur l'orgue, avec les fugues et recherches sur leur plain-chant. Paris: Pierre Ballard. Repr., Geneva: Minkoff, 1987 . HEAVENLY DISSONANCES: THE CADENTIAL SIX-FOUR CHORD IN FRENCH GRANDS MOTETS...

... of each segment, phrase, and period), cadential hemiolas emerge as consonant agents, in the large rhetorical scheme of things. These hemiolas, which intensify the end-accented beats, assert the notated meter, not the metrical displacement. In so doing, they either reinforce the basic metrical premise...

...Naomi Waltham-Smith Haydn is known for his playful (mis)use of cadential formulas. Examining examples of this predilection and processes of cadential liquidation, this article develops a theory of the use of musical material. This entails a deconstruction of the Adornian dialectic between generic...

..., and periods, namely the cadential formu- las and the pitch hierarchies of the melody-types and modes. (Jonsson and Treitler 1983, 7) Although these writers, medieval and modern, are all dealing with chant and chant treatises, the conceptual framework behind large-scale phrase structure...

... or sentiment in the text,16 the dissonant chain originates from an early seventeenth-century technique of exten- sion through repetition of cadential figures—of what Rameau appropri- ately called “avoiding cadences while imitating them.”17 This technique is illustrated in simple strict-contrapuntal terms...

... cadential six-four chord. 2009 2009 Timothy Cutler is professor of music theory at the Cleveland Institute of Music. He is the creator of the Internet Music Theory Database ( www.musictheoryexamples.com ), a collection of roughly 1,500 categorized examples of tonal harmonic and contrapuntal...

... University Press . Fankhauser Gabriel . 2012 . “Deviant Cadential Six-Four Chords.” Paper presented at the annual meeting of the Society for Music Theory , New Orleans, LA . Guck Marion . 1978 . “The Functional Relations of Chords: A Theory of Musical Intuitions.” In Theory Only...

..., Wolfgang. 1983 . Grundlagen musikalischer Formen der Wiener Klassik: An Hand der zeitgenössischen Theorie von Joseph Riepel und Heinrich Christoph Koch dargestellt an Menuetten und Sonatensätzen (1750–1790) . Kassel: Bärenreiter. Caplin, William. 1987 . “The `Expanded Cadential Progression...

...Roman Ivanovitch The article examines a group of closing gestures in Mozart's piano concertos, passages of soloistic virtuosity just before the last tuttis of the exposition and recapitulation. Serving as grand cadential clinchers and clothed in conventional figuration, these spots—sometimes called...

..., see Vallières et al. 2009. 8 Caplin s (1998) references to expectation in Classical Form are mostly restricted to discussions of cadential deception, evasion, and avoidance. When explaining basic theme types, he explicitly deals with expectation only in regard to the relationship of presentations...

... reflected in the hexatonic organization of mm. 1–67, in the A section's stormy chromatic transitions, and in the cadential gestures that permeate the B section and coda. Yale University 2008 Brent Auerbach is assistant professor of music theory at the University of Massachusetts Amherst...

...Example 14. “Ecco, Silvio,” mm. 46–64; cadential arrivals are shown beneath the staff. ...

... . “ The ‘Expanded Cadential Progression’: A Category for the Analysis of Classical Form .” Journal of Musicological Research 7 , nos. 2–3 : 215 – 57 . Caplin William E. 1998 . Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven . New York...

...David Temperley 2003 © Yale University, New Haven, Connecticut 06520 2003 Caplin, William. 1987 . “The `Expanded Cadential Progression': A Category for the Analysis of Sonata Form.” Journal of Musicological Research 7 : 215 -57. Cone, Edward. 1963 . “Communication.” Perspectives...

... is contrasting to all previous phrases (though it ends with the same cadential harmony as P3), and P6 starts like P4 but ends differently; these resemblances are brought out by the paradigmatic analysis in Example 4. It is perhaps not too far-fetched to read...

... or another of the primary chords” [15]. Riemann also surveys the logical meaning of diatonic sev- enth chords in this section. Section 3, on cadential expansion, explains how the dialectical stages can be enlarged and the entire process perpet- uated at different levels of musical structure. Section 4...

... is therefore the real antithesis to I, and in what follows we shall always understand by antithesis this independent appearance of the lower dominant. For the other cadential forms, however, we shall retain the paraphrastic six-four chord.16 [15] 2. Secondary Harmonies. We now go one step further...

... cadences) at or around the mid-point of the expositional space; ends with a perfect authentic cadence in the new key, the essential expositional closure. 3) A post-cadential closing zone. Figure 2.  Continuous...

... to a tonal language—they per- haps understand tonality as a clarified version of modality, with fewer back- ground scales and a narrower range of cadential options. Certainly, the bal- lett, in its Italian, English, and German incarnations, is no longer strictly...