... “display episodes”—appear to highlight performative prowess at the expense of compositional invention. As such, beyond an acknowledgment of the appropriateness of stock passagework at this point, analysis can have little to say: the episodes are either self-evidently simple or transparent to theoretical...

.... The consequences of such changes are most often purely tonal in nature, giving rise to modulations that would otherwise take place during episodes. Much less frequently, tonal and rhythmic transformations of the subject may occur simultaneously, as in the fugue from the Sinfonia that opens Partita no. 2 in C minor...

... piece’s second episode in A♭ major (Exam- ple 1). As Andrea Lindmayr-Brandl (2000) has recently disclosed, Brahms was dismayed by the lack of careful attention that Schubert’s nephew, Eduard Schneider, had given toward casting the templates (Druckvorlagen...

... refrain theme; see Example 2). Traditional attributions of the form as a rondo are based on the movement’s cyclic alternation between fixed refrains in blocks A and episodic thematic variants (or movable episodic themes) in blocks E and in the additional block G...

... refrain, one that Chopin allegedly likened to an old clock striking eleven. See Eigeldinger 1986, 83, 157 n. 197. 212 Journal of Music Theory The first episode (mm. 19–34) centers on E major (enharmonic ≤VI...

... � � 1 aperiodic 5-bar (= 10-bar) episode, consisting of 1 2 (= 3) bars displaced 14...

... ) explains that Bach adapted the ritornello principles of Vivaldi's opus 3 concertos, wherein the opening orchestral passage returns several times throughout the movement, alternating with solo episodes. In Bach's adaptations, the three main segments of the ritornello—the Vordersatz (which defines...

... any such repetition, and in- stead represents a prime example of the cellular construction identified by Messiaen and explored by both Boulez (1968) and Barraqué (1954). Finally, the harp solos always appear at the end of fugal episodes and lead directly to restatements of the fugue subject...

...- moving “c-minor-like” chords that greatly contrast with the serene “C-major- like” episode preceding it. Example 1 shows the scoring of the second “Miser- ere” invocation. Journal of Music Theory 55.2: Music Examples, p. 18...

... purposes, the term solo entry theme will refer to the open- ing of the first solo section in a ritornello form with material that is tonally stable and thematic—“thematic” in so far as it has characteristics 386 of sentence- or period-construction, as opposed to the episodic figuration or Fortspinnung...

... the development section, Mazel’ considers both the use of pastoral elements (98–101) and of conventional operatic gestures (102–3). In the development's “central episode”—Lento sostenuto, B Major—the aforementioned chorale element (originating in the prologue) most clearly asserts itself (102). Mazel's discussion...

... four- movement form.30 The first main part of the movement serves as a “scherzo” and assumes an A/A′ or two-rotational form, after which we hear a “slow movement” episode (R46) and later a “finale” (R66, m. 3), now back in the first movement’s tonality of D major.31 Complicating this picture...

... American 299/6: 48. Stravinsky, Igor. 1964. “Dialogue about JFK.” New York Times, 6 December. Reprinted in Igor Stravinsky and Robert Craft, Themes and Episodes, 56–59. New York: Knopf, 1966. Taruskin,  richard. 2011. “Catching Up with  rimsky-Korsakov.” Music Theory Spectrum 33...

... and the beginning of the Finale. The intra-movement progression mirrors and confirms the larger extra-movement link. As if to confirm the sufficiency of the lone melodic F≥ in effecting the completion, Haydn foregoes restating the im- broglio episode from m. 13 f., which harped on F≥, instead skipping directly...

... Lucio Silla. 404 JOURNAL of MUSIC THEORY an S theme derived from R1 and merging with the display episode (DE), which leads to the solo EEC (mm. 67–88). We encounter similar phrase suc- cessions in the first movements of the Flute Concertos K. 313...

... crafted transitions. We might imagine that as the musical persona faces 130 Journal of Music Theory obstacles it cannot overcome, it halts the narrative progress in search of a new tactic. In literature, such episodic plots are associated...

... that the inclu- sion of a few analytical episodes would have “inappropriately exemplif[ied] the work of particular individuals as emblematic of the AACM as a whole” (xvii).2 This stance is consonant with the collective social orientation of the AACM...

... presents a formal diagram of Intermittences. Like many of Carter s mature works, it consists of a series of short episodes. Adjacent episodes may 44 J O U R N A L o f M U S I C T H E O R Y Table 1. Carter, Intermittences, formal chart Measures Surface activity Character type(s) Piano effects Notated...

... contrapuntal motion within the refrain’s closing F tonic allows the A section to anticipate the sound of the D point of departure for the episode. Conversely, the reversal of the C–D melodic motion An abridged version of this essay was read at the Fourth of Music, Yale University, December 9, 2005...

... in isolation. The expositional passages of Brahms’s Two Rhapsodies, op. 79, can now each be related to the episodes succeeding them. The underlying premise of the study, again, is that the opening textures of these pieces are special by virtue of their strict...