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caesura

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Journal Article
Journal of Music Theory (2010) 54 (2): 235–282.
Published: 01 October 2010
...Danuta Mirka Two closely interrelated techniques of phrase expansion occasionally used by eighteenth-century composers but so far not recognized by music theorists are twisted caesuras and overridden caesuras . Both of them represent complex games played by composers with their listeners on two...
Journal Article
Journal of Music Theory (2006) 50 (2): 181–210.
Published: 01 October 2006
... punctuating events: • Medial caesura (MC): a brief, rhetorically reinforced break or gap that serves to divide an exposition into two parts, tonic and dominant (or tonic and mediant, in most minor-key sonatas). • Essential expositional closure (EEC): a clearly articulated...
Journal Article
Journal of Music Theory (2013) 57 (2): 383–418.
Published: 01 October 2013
... of Elementi teorico-pratici di musica Vol. 2 Rome: Michele Puccinelli . Hepokoski James . 2002 . “ Back and Forth from Egmont: Beethoven, Mozart, and the Nonresolving Recapitulation .” 19th-Century Music 25/2-3 : 127 – 54 . Hepokoski James Darcy Warren . 1997 . “ The Medial Caesura...
Journal Article
Journal of Music Theory (2014) 58 (1): 25–56.
Published: 01 April 2014
... first feints at a medial caesura—the arrival on V/C at m. 99, followed by a measure of caesura-fill. The exposition, however, declines this caesura’s invitation for the entrance of a second theme in favor of “passages of contra- puntal texture and the modulatory...
Journal Article
Journal of Music Theory (2004) 48 (2): 325–336.
Published: 01 October 2004
... perception of the musical surface. Accordingly, the former can be determined only on the basis of theoretical criteria, not perceptual ones. For Koch and his con- temporaries, the criterion for determining Taktteile was the location of the caesura—that is, the final note of a cadence. This follows from...
Journal Article
Journal of Music Theory (2000) 44 (2): 381–450.
Published: 01 October 2000
... University Press. Hepokoski, James, and Warren Darcy. 1997 . “The Medial Caesura and its Role in the Eighteenth-Century Sonata Exposition.” Music Theory Spectrum 19 / 2 : 115 –54. Jones, P. Ward. 1969–70 . “The Concerto at Mannheim c. 1740–1780.” Proceedings of the Royal Music Association 96...
Journal Article
Journal of Music Theory (2020) 64 (2): 203–240.
Published: 01 October 2020
... quartets in G major and A major in 1895. First Symphony (and then that of Bruckner s Eighth), he first engages in a corpus study of medial caesura (MC) practices in Beethoven, Schubert, Men- delssohn, and Brahms. This survey raises other concerns, chiefly the problem of presenting complex analytic...
Journal Article
Journal of Music Theory (2019) 63 (2): 209–229.
Published: 01 October 2019
... musical parameter, thematic and tonal, is preserved from the onset of the recapitulatory primary theme to what Hepokoski and Darcy (1997) call the recapitulatory medial caesura (MC), and again from the onset of the second theme to the end of the recapitulation. The tonal alterations happen...
Journal Article
Journal of Music Theory (2006) 50 (2): 211–251.
Published: 01 October 2006
..., James and Warren Darcy. 1997 . “The Medial Caesura and Its Role in the Eighteenth-Century Sonata Exposition.” Music Theory Spectrum 19 : 115 -54. ____. 2006 . Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata . Oxford: Oxford University Press...
Journal Article
Journal of Music Theory (2021) 65 (1): 107–137.
Published: 01 April 2021
... to uncouple count 1, the beginning of a group, from the metrical downbeat, often conceptualized as a central point of stability. In this piece, musical phrases, or groups, begin midbar, while the changes of harmony and the consistent caesuras make the notated metrical downbeats clear to the listener...
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Journal Article
Journal of Music Theory (2006) 50 (2): 143–179.
Published: 01 October 2006
... off by a medial caesura.10 Nor does either of the secondary themes lead to closure in A≤.11 It is only after these submediant sections that Schubert fash- ions extended transitional passages, and in both movements these transitions...
Journal Article
Journal of Music Theory (2014) 58 (2): 103–154.
Published: 01 October 2014
... of the three phono- logical phrases. In Schubert’s case, each of the phrases comes to rest on a relatively long note, producing “little caesuras” that further delimit the phrases.6 Although the Brahms setting does not have this feature, both melo- dies have...
Journal Article
Journal of Music Theory (2009) 53 (2): 305–328.
Published: 01 October 2009
... generated by division of a larger unit (3). The identification of the Taktteil also had important musical conse- quences. In general, harmonic changes were required to occur on beats at the Taktteil level and preferably above it; most important, the caesura (the final cadential harmony...
Journal Article
Journal of Music Theory (2001) 45 (1): 204–227.
Published: 01 April 2001
... “Divider,” Drabkin mostly follows the usage found in Fünf Urlinie-Tafeln and Der freie Satz. Unfortunately, he goes on to cite the dominant that “divides the exposition [of a sonata form] into two parts”—in other words, the medial caesura. This confuses the issue, since only reference to Drabkin’s...
Journal Article
Journal of Music Theory (2012) 56 (1): 87–120.
Published: 01 April 2012
... pause, which in itself forms a textbook medial caesura, as James Hepokoski and Warren Darcy call it (2006). Unex- pectedly, however, this half cadence is followed not by the second theme in the second key (E♭ major) but by a passage in A♭ major (mm. 26–29...
Journal Article
Journal of Music Theory (2006) 50 (2): 277–290.
Published: 01 October 2006
... more typi- cal of the classical period than of the galant.) More specific features of sonata form are present, as well. Measure 11 of the Leduc presents a “medial caesura,” a half cadence just before the second theme (Hepokoski and Darcy 2006...
Journal Article
Journal of Music Theory (2000) 44 (1): 45–79.
Published: 01 April 2000
... model implicit in the directed progression to elucidate the function of this syntactical unit in medieval polyphony. As Fuller has demonstrated throughout her work, the directed progression is not associated only with endings: it also artic- ulates openings, caesuras, and joins phrases.32 Nor...
Journal Article
Journal of Music Theory (2013) 57 (2): 419–431.
Published: 01 October 2013
..., or (at most) three measures; that is, perfect sonorities are distributed quite evenly among the song’s downbeats. All but one of the poem’s lines concludes with a perfect sonority at the rhyme syllable. The sin- gle exception is the sixth line, which is musically “run on” to the next line’s caesura...
Journal Article
Journal of Music Theory (2015) 59 (1): 63–97.
Published: 01 April 2015
... of V. 46  In Rachmaninoff’s case, the cadence is less noticeable, since m. 65 gives a big caesura (with a breath mark in all voices, in Morosan’s edition; see Example 8a), and so a Journal of Music Theory 59.1: Music Examples, p. 26...
Journal Article
Journal of Music Theory (2016) 60 (2): 97–148.
Published: 01 October 2016
... to parse musical spans into sections of whatever size: pauses and caesuras, dynamics, texture, and so on. Tonal structure includes information about keys, cadences,4 and chord pro- gressions, as well as Schenkerian voice-leading structure where applicable; sometimes these two aspects of tonal...