...Áine Heneghan Liquidation is an idiosyncratic term in music theory. This article considers its origins in the writings and teaching of Arnold Schoenberg. Tracing its history uncovers the resonances that it held for him and refines our understanding of the term. Paying close attention...

...Naomi Waltham-Smith Haydn is known for his playful (mis)use of cadential formulas. Examining examples of this predilection and processes of cadential liquidation, this article develops a theory of the use of musical material. This entails a deconstruction of the Adornian dialectic between generic...

... / 3 443 1 1 2 1 / 1 1 2 1 / 1 1 2 1 / 1 2 1 1 / 1 2 1 2 / 1 1 1 1 / 1 1 1 1 / 1 1 1 1 / (liquidation) (c) MCA sheet music (1926). BBF = 6; BBS = 3. 3 3 1 2 1 2 / 1 1 2 1 / 1 2 1 2 / 1 1 1...

... of interpreta- tion emerges in the counterstatement of the 1b idea and the liquidated ver- sion that forms the substance of the transition. These passages are given as exs. 14 and 15, respectively. Over the course of the counterstatement and transition, Brahms gradually places increasing emphasis on both...

..., which should be represented by the third token, D. We might expect P2, but instead get a tune based on that region’s RI transform, RI7. The token D, then, is represented only by the RI form of its region. Events get even more compressed as the tran- sition liquidates: the fourth token, F, does...

... (e.g., S in the tonicized Neapolitan at m. 108) and sequential writing (e.g., mm. 98 103 and 114 191) that are hallmarks of looser-knit organization and that specifi- cally defer closure. This looseness stands out all the more in contrast to the codetta of mm. 155 62, with its return of P in liquidated...

... a rhythmic augmentation of the C–A motive, such that the final A4 falls at beat 2 of m. 128. In effect, the hemiola is now completed instead of being liquidated, and a feeling of unexpected stillness or emptiness is replaced by dodson_13 (section) /home/jobs...

... to empha- size the shift to the parallel mode, the cadential progression is then further augmented and liquidated in mm. 80–113, such that the entire gestural affir- mation of E♭ major—which takes thirty-nine measures to complete (mm. 74–113)—outweighs...

..., bars 1–2 drastic liquidation through the hemiola’s intervention throws in turn a good deal of light on the nature of the hemiola’s long-range architectonic purpose. Indeed, it helps us understand how a metrically dissonant idiom can be called upon to perform a duty that is conceptually...

... in the first-movement theme (mm. 7–8)— A≤-AΩ-B≤ in soprano against C-C≤-B≤ in the bass—contains the seeds of the grand drama which will unfold over four movements. The function of the development of the Finale is to reciprocate this motion, liquidating the wild and unsettling effects of chromaticism...

... arpeggiated descent in the Trio of Mozart’s G-minor symphony. As Figure 4c shows, when a downward fourth- progression from 1ˆ to 5ˆ connects the tonic chord to its dominant, the bound- ary between chords can also be surprisingly liquid, for although the fourth...

... for assuming a liquidating function. The modeling of whole-tone collec- tions onto the Dasian space implies the partial intersection of every other whole-tone tetrachord (2–2–2). Therefore, “opposite” whole-tone tetrachords are reached...

...). In analogy with liquid chemical suspensions, where component elements are present yet not visible, content in art is dissolved only in the sense that it is no longer perceived in its separateness, in its indi- viduality. The content as such is no longer...