... 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. Channan Willner is acquisitions librarian...

... 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. 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...

... Giorgio . 1999 . “ Bartleby; or, On Contingency .” In Potentialities , trans. Heller-Roazen Daniel , 243 – 71 . Stanford, CA : Stanford University Press . Agawu Kofi V . 1987 . “ Concepts of Closure and Chopin’s opus 28 .” Music Theory Spectrum 9 : 1 – 17 . Benjamin...

... 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...

.... Sonata form arises from a two-part 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...

...). 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...

... an entire movement.2 Marx’s second category is the opposite of the Satz, which he calls the Gang. The Gang is motion oriented and transitional, defined by the absence of the kind of closure possessed by the Satz. A Gang could con- tinue endlessly, unless brought...

... 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...

...). • Essential expositional closure (EEC): a clearly articulated tonal goal— usually the first satisfactory perfect authentic cadence (PAC) in the new key. b) Four options for medial caesura: • Half cadence in the new key (V:HC or III:HC); most common. • Half cadence...

... 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...

... by tonic harmony, achieving perfect cadences. The melody of the latter period reaches E≤6, the highest pitch of the Alternativo, linking to the register of the Menuetto; this melodic culmination and the tonic pedal in mm. 152–56—unique to this moment in the third movement—secure maximal closure...

... 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...

... notation. They did not typically strive, however, to produce scenarios that pitted opposing forces against one another, demanding closure at all costs. But a zero-sum game of binaries, of victors and losers, did emerge in the 1800s. In these crucial passages, Schoenberg lays out some of his rationales...