Search Results for prolongation

.... Challenge to Musical Tradition . New York: Alfred A. Knopf. Reprint. New York: Da Capo Press ( 1972 ). Larson, Steve. 1997 . “The Problem of Prolongation in Tonal Music: Terminology, Perception, and Expressive Meaning.” Journal of Music Theory 41 : 101 -36. Lerdahl, Fred. 1999 “Spatial...

...Robert P. Morgan Taking my own Schenker-derived view of dissonant prolongations as a point of departure, this article attempts to clarify this phenomenon by considering it in relation to tonal prolongation. This is accomplished in three ways: by reconsidering Schenker's mature attitude toward...

...Diego Cubero The concept of prolongation in Schenkerian analysis broadly describes the elaboration of a vertical sonority. Among the most basic ways to prolong a chord is by arpeggiating it, such that it governs the time span of its arpeggiation. In Heinrich Schenker's writings, however...

... simultaneously as a local, harmonic event and as a global, formal event. On the local level, it may either prolong one harmony or progress from one to another. On the global level, it can serve a variety of formal functions: highlighting salient cadences; opening a space for virtuosic display; and developing...

... of interactions of prolongational, associative, or stretto-like musical figurations in the prelude. These “differences” in orientation become creative and expressive of newly available content, multiplying interactions of composition and text, reception and analysis. © 2008 by Yale University 2008...

... important tonal events such as prolongations and cadences. Using diatonic position finding to aid the analyst in determining a chord’s status, the article offers five preference factors to identify the most likely triadic tonicizers. This leads to some general conclusions regarding tonicizing chords...

... pitch class transpositions show the scales and melodies that prolong third-related harmonies also participate in their own third relations. Copyright © 2020 by Yale University 2020 diatonic modes pitch class Franz Schubert solfège solmization I am grateful to Julian Hook for his...

... unusual for basic analytical decisions to pose significant challenges. Such fundamental determinations as boundaries for harmonic prolongations, the hierarchical significance of tonicized Stufen, the relative structural sta- tus of linear progressions, the identity of the Kopfton, and even analysis...

... in deep middleground and that can then be copied and elaborated at more local levels. Because of the nature of hierarchical networks, first-level prolongations [=those prolongations that can occur at the first level of the middle- ground] must also influence the motivic process of the lower levels...

... melodies. Chapter 3. “Bass Lines and Harmonic Structure” begins with a dis- cussion of tonic prolongation achieved by means of bass lines, using pass- 484 ing and neighboring motions. These lines are then harmonized with con- trapuntal chords. The dominant is introduced as a structural chord...

... . Smith Charles J. 1981 . “Prolongations and Progressions as Musical Syntax.” In Music Theory: Special Topics , ed. Browne Richard , 139 – 74 . New York : Academic . Spicer Mark . 2005 . Review of Walter Everett, The Beatles as Musicians: The Quarry Men through “Rubber Soul...

.... Hedi Siegel, 125 -45. Cambridge: Cambridge University Press. Morgan, Robert P. 1976 . “Dissonant Prolongation: Theoretical and Compositional Precedents.” Journal of Music Theory 20 : 49 -91. Notley, Margaret. 2005 . “Plagal Harmony as Other: Asymmetrical Dualism and Instrumental Music...

.... is understood to be subsumed within the larger dominant prolongation that extends from the second theme in the exposition, m. 14 ff., through the development section, and across to the dominant of m. 57. Specifi- cally, Schenker interprets the subdominant as a composed-out seventh of that prolonged dominant...

... recent work [that] aims to reconcile Schenkerian notions of goal-directedness and prolongation within a theory of harmonic function,” work that draws on the concept of the phrase model (3). Nobile's approach is distinguished by its focus on large-scale harmonic structure; he is careful to note...

... one of the richest topics of research in the field; and much that is useful and productive has come out of it, including innovative ideas on tonal pairing, symmetrical pitch formations (in particular, equal octave division), and dissonant prolongations. Yet the field remains wide open, with little...

...”; “Auskomponierung”; “Coupling”; “Divider”; “Initial ascent”; “Interruption”; “Layer”; “Motion from an inner voice”; “Obligatory register”; “Prolongation”; “Reaching over”; “Register transfer”; “Stufe”; “Tonicization”; “Unfolding”; “Urlinie”; “Ursatz”; “Zug” Anyone who keeps an ear to the disciplinary...

....” In The Masterwork in Music , Vol. 3 , ed. Ian Bent, trans. Derrick Puffett and Alfred Clayton, 10 –68. New York: Cambridge University Press. Sobaskie, James. 2007–8 . “Precursive Prolongation in the Préludes of Chopin.” Journal for the Society of Musicology in Ireland 3 : 25 –61. Suurpää, Lauri...

.... Again, in connection with the rondo (second) movement of Mozart’s Piano Concerto in C minor, K. 491, Schachter reminds us of different patterns of salience in the articulation of harmonic goals: “We can have important harmonic goals that are not prolonged...

... University Press. Williamson, John. 1996 . “ Wolf's Dissonant Prolongations .” In Kinderman and Krebs 1996. Youens, Susan. 1992 . Hugo Wolf: The Vocal Music . Princeton: Princeton University Press. CHASING RAINBOWS: WOLF’S “PHÄNOMEN” AND IDEAS OF COHERENCE...

... used in the vamplike first eight measures. “Iris” (Table 2c), when interpreted in F minor, ends on a minor dominant chord (Cm7) prolonged by two applications of an upper neigh- bor substitute dominant as a suffix: Cm7 D≤7 Cm7 D≤7. The last of these Table 3 a. “Deluge” 1 2 3 4...