... terms. Here I present a bottom-up approach, demonstrating that the recapitulation arose as a concatenation between two previously independent practices: the double return of the opening theme in the tonic in the middle of the second half of a two-part form, and the thematic matching between the ends...

..., or those melodic ideas of the first period which followed the V-phrase in the fifth, is repeated in the main key. . . . (1983, 201). In other words, a double return of tonic and main theme at the beginning of the third solo is followed by a recomposition of the original modula- tion, and a tonic...

... that attaches to the “double return” (the coordinated recovery of both principal theme and tonic key), as the tonic is regained late in the recapitulation, only after the essential motion of the movement’s tonal structure has unfolded. The work’s novel key scheme, then, precludes the operation of a norma...

... clarity. The development arrives on the home dominant at m. 108 and expands that V for four measures, as preparation for the recapitulatory double return at m. 112. One might even cite, as a classical-style attribute, Dvor ák s Mozartian use of augmented-sixth chords as signposts for these large-scale...

...Matt BaileyShea This article analyzes Hugo Wolf's Auf eine Christblume I and II in relation to Robert Bailey's concept of the “double-tonic complex.” These songs project an intricate pairing of D and F# tonalities that often result in various hexatonic relationships. My interpretation associates...

... voice? The dominant clearly arrives in bar 56, and this resolves back to the tonic with the arrival of the “second theme” in bar 59. As shown in Example 3, I read this motion to the tonic as completing the first part of a double harmonic progression. The structural £ occurs at the return...

... voice? The dominant clearly arrives in bar 56, and this resolves back to the tonic with the arrival of the “second theme” in bar 59. As shown in Example 3, I read this motion to the tonic as completing the first part of a double harmonic progression. The structural £ occurs at the return...

... guiding thread throughout is the process of liquidation, which I see as a kind of contained laboratory for the formal processes in Haydn’s music more widely. I first analyze the double movement of convention and expression through the lens of Jacques Derrida’s notion of exappropriation (signifying...

... even n-note chord, for n ranging from 1 to 6.9 (Terminological note: I refer to these as the “doubled subsets of the perfectly even n-note set-class10 Associ- ated to each graph is one of the six Fourier components. For any three-note set-class, the magnitude of its nth Fourier component...

... Robert . 1985 . “ An Analytical Study of the Sketches and Drafts .” In Wagner: Prelude and Transfiguration from “Tristan and Isolde,” ed. Bailey Robert , 113 – 46 . New York : Norton . BaileyShea Matthew . 2007 . “ The Hexatonic and the Double Tonic: Wolf’s ‘Christmas Rose...

... is expected to return in the tonic at the end. The music of the opening ritornello has appeared in three other keys (F major, A minor, and G minor) up to this point. Table 1 lists the ritornellos. The climactic passage (mm. 127–34), which features persistent eighth-note double-stops in the two solo violins...

...). It follows that it is also possible for the rotational (or rhetorical) form to be out of synch with the tonal form. A well-known instance among Schenker- ians is the double return of tonic and opening theme at the recapitulation’s onset in the first movement...

... No Evil” (Table 3b), which also presents two statements (mm. 11–14) of A7-5 B≤m7, a nonfunctional, nondiatonic progression. The A7-5 is a surface elaboration acting as an accented neighbor chord to the B≤m7 chord, which itself is a neighbor chord mov- ing from and returning to tonic...

... 5 mind and keeping count. Return to the original tempo, and now double it, again and then again. As you continue this way, you will find that at a certain point you will no longer be able to tap the pulse with a single fin- ger, but must create it by a reciprocal motion between two fingers. Con...

...—that exhibits notable properties of repetition and recursion. A possible bonus is closure: returning to the point of origin at the end. But wait—how are we to know if the path has been closed or not? Pre- sumably by retaining an image of the map as a whole and keeping track of the succession of moves...

... in the rest of the book, and includes critiques of Schenker’s and Charles J. Smith’s theories of form, focusing on the role of key area and structural harmonies, as well as the choice of Kopfton. Smith returns to some of these concerns in chapter 4, where he compares Brahms’s and Schenker’s responses...

... is not an issue in Cohn’s type I metric space, since any meter may be related to any other.) Here, it is prudent to return to the pulse representation of a meter from the Mozart article, for all commensurable meters in this type II metric space must share...

..., 3472, 3474, 3484, 3473, 3485, 3486, 3487, 3475. 20  The autograph’s no. 2, Cavatina Gualtiero, is given a double number, “no. 3.4,” in the first edition, with no indi- cation of where no. 3 ends...

... to the game plan of “Fourths”: pitch and pc doublings are rigor- ously avoided until the coda, at which point Even-ness is asserted un- equivocally (and triumphantly) by simultaneous E≤ octaves.13 Analytical Applications of the Partitional Model Let us return to the properties...

... and Franco-Italian phrase types by activating and transforming displacement dissonances. For an illustration of one such transition, return to Example 4 , whose final measure is labeled R8−6 rather than D8+2. 13 When analysts consider the question of metric type alongside the progression of D2+1...