... study of subordinate theme closure in Dvořák’s mature chamber music responds both to Horton’s interest in asynchrony between formal design and tonal structure and to his and Vande Moortele’s calls for expanding the range of composers included in these endeavors. Attention to a less studied composer...

... of the piece or reset the durational clocks of the piece for proper cadential closure. Examples range from Handel’s keyboard suites and Concerti Grossi, op. 6, as well as Bach’s English Suites, to Couperin’s B-minor Passacaille and Brahms’s Capriccio, op. 76/2. Metrical Displacement and Metrically Dissonant...

... music bears a closural function. I thank William Rothstein, Patrick McCreless, and Philip Ewell for their help with earlier drafts of this article. Ellen Bakulina is a Ph.D. candidate in music theory at the City University of New York Graduate Center. She holds degrees from the College...

... of events of long-range structural importance such as cadences that provide tonal and formal closure at the deepest level. Metrical Dissonance and Directed Motion in Paderewski’s Recordings of Chopin’s Mazurkas Alan Dodson Abstract...

... strategies to gen- erate continued momentum toward anticipated resolution and closure. In the first movement of op. 33/5 this instability takes the form of a gambit for which Haydn has notable fondness, namely, a closing gesture deployed as an opening. Ever since his early quartets opp. 9 and 17 Haydn...

... for the D 6/3 chord at the outset of the movement. This duality complicates the articulation of the opening tonic Stufe and delays a stable D-major sound until the point of closure for the A section. From a Schenkerian perspective, the 6/3 chord in m. 1 functions not as an inversion of the submediant...

... for pentatonic themes throughout the third cal set-class (“host set which establishes a privileged movement of Bartók’s Piano Sonata, as well as in the move- correspondence with the space based on the properties of ment’s closure. 280 JOURNAL of MUSIC THEORY refers to a transfer...

... absence of tonal closure for the first movement, about which I say more shortly.13 In addition to the type 3 form and this run-on continuity, a host of characteristically nineteenth-century elements of tonal enrichment counterbalance Schu­mann’s...

... Cadence: Thematic Closure in Early Romantic Music .” Music Theory Spectrum 40 , no. 1 : 1 – 26 . Clark Andy . 2013 . “ Whatever Next? Predictive Brains, Situated Agents, and the Future of Cognitive Science .” Behavioral and Brain Sciences 36 , no. 3 : 181 – 204 . Clark Andy...

... fundamental structure, and the sole re- quirements of development and recapitulation sections are those that serve this structural division: the impulse toward closure is interrupted following the arrival or prolongation of and dominant harmony; a recommencement of that motion ensues, this time carrying...

...). Indeed, one characteristic of the String Quartet that is clearly not related to eighteenth-century precedents (except perhaps as a thoroughgoing “deformation”) is its failure to arrive on C closure in the sec- ond ending following the exposition repeat. Thus, alongside the Haydnesque model...

..., defined by the absence of the kind of closure possessed by the Satz. A Gang could con- tinue endlessly, unless brought to an end by an interruption. The diagrams Marx uses to summarize the rondo forms refer to both Satz and Gang. Exam- ple 1 shows...

... appears as a verticality midway through the arpeggiation, as in Figure 3g. In withhold- ing the final harmony up to the end of the passing motion, Schenker is fol- lowing the principle of closure in linear progressions and, by extension, arpeggiations...

... routinely fail to resolve down by step, and complete scenes lack tonal closure as a matter of course. These characteristics most precisely describe the recitativo semplice (or secco) of Italian dramatic and sacred music from the eighteenth century.2...

... 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...

... context, rather than discretely as a boundary silence, in most cases it must follow an implicative rather than a closural event (see Meyer 1956; Narmour 1990). Margulis (2007a) uses reaction time data and tension responses to make the case for the differential processing of silences that follow...

... movement—secure maximal closure for the end of the section. Despite the parodistically simple subject of the Alternativo, the sec- tion proves to be a virtuosic exercise in chromatic harmonization, offer- ing a dazzling array of settings of the scale. (Could Haydn be poking fun at the exercises...

... are endings entirely characterized by the syntax of the directed progression since pieces end with various other interval successions. For this reason I am reluctant to use the term “cadence” which, although a fourteenth-century term for this two-element unit, now carries strong associations of closure...

... lyrically as “ara- besques woven out of scales and arpeggios” (2002, 355). More important, far from being a liability, the sheer conventionality of these passages is precisely their strength: at this point in the discourse, with closure in the air, intelligi...

... approach initiated by Beethoven and consider ways in which motivic manip- ulations, cyclic designs, “signature” harmonic progressions, and strategies toward closure might function as form-generating forces. Schmalfeldt’s analyses are ever rigorous, detailed, and self-consciously critical. Never...