...Paul Sherrill; Matthew Boyle Italianate recitative of the eighteenth and early nineteenth centuries constituted a distinct musical language that coexisted with the familiar style of common practice music. In this article we propose a theory of that language (“galant recitative”), which we...

... Sherrill and Matthew Boyle for their article “Galant Recitative Schemas,” which appeared in volume 59 of JMT. The selection committee issued the following citation: Some of us might have a tendency to drift off during those “notoriously formu- laic” recitative passages especially within...

...Example 6. Chopin, Nocturne in C minor, op. 48/1, mm. 49–52 (segment of the “dynamized” reprise, fusing four topics: recitative-declamation, chorale, march, and tempest/whirlwind). ...

.... William Rothstein    Tonal Structures in Bellini 231 Bellini’s surviving autographs differ from the first editions, sometimes markedly so.15 The keys of recitatives and pezzi chiusi are sometimes higher in the autographs; this is especially (but not exclusively) the case where Bellini...

... and gloomy augmented-sixth chord, calling into question everything that has come before (Example 2). A recitative invades the scene, while the minor mode takes control, leading to a slow pronouncement in the low register dur...

... strongly recall those of Passio, formal- ized above. In each measure-phrase, alto and bass, the M-voices, proceed in diatonic inversion around a reciting tone, which sets every monosyllabic word. On polysyllabic words they move by step to or from this reciting tone. (Since most words in this English...

.... This chorale tune and text stem from a well-formed dorian melody by Johannes Steuerlein.1 Example 1 shows Steuerlein’s melody of only four phrases. Its range is C4–D5, the normal ambitus of the dorian mode; its recit- ing tone is A. The phrases are paired...

... performances at the keyboard in (among many other works by himself and other composers) his own arrangement of a Piano Concerto in A Minor by C.P.E. Bach,7 as well as the accom- paniment of song recitals. He did not give piano recitals, but rather per- formed interludes in mixed programs according...

... – 88 . Cambridge : Cambridge University Press . Sherrill Paul . 2016 . “ The Metastasian Da Capo Aria: Moral Philosophy, Characteristic Actions, and Dialogic Form .” PhD diss., Indiana University . Sherrill Paul , and Boyle Matthew . 2015 . “ Galant Recitative Schemas...

... recitative from Johann Sebastian Bach s Cantata 82 ( Ich habe genug Bach s sonic analogues are less direct expres- sions of emotion and more a musical way to simulate emotion processes (80). In the fourth movement recitative (Example 2), for example, Bach uses musi- cal resources to simulate physiological...

... mimics the hesitations of highly personal speech and helps construct an atmosphere of communicative intimacy. This usage is common in recitative. In a discussion of Mozart’s Don Giovanni, Laurel Elizabeth Zeiss observes that the truncation of the main theme from an aria...

....” In book 5, the bass always begins with a descending semitone and outlines a fourth-species ( ut-sol ) fifth. The opening phrases of “Ecco, Silvio” set the first three verses in a long (18 mm.) block of music ( Example 10 ). In verse 1, the Pietà1 schema (F–D6–C) is preceded with a recitation on G...

... recommended to me that before composing [a song] I should carry the poem around with me in my head for a long time and frequently recite it out loud to myself, paying close attention to everything, especially the declama- tion. I should also mark the pauses especially and follow...

... . “The Recitative `Erbarm es Gott' from Bach's St. Matthew Passion.” Trans. Joseph Dubiel. Der Tonwille II : 65 -68. Oxford University Press. ____. [1924b] 2005 . “The Opening Chorus (First Chorale Fantasy) from Bach's St. Matthew Passion.” Trans. Joseph Dubiel. Der Tonwille II : 127 -34. Oxford University...

... heart's romantic independence. She loses herself in his voice, because the serenade genre demands that the serenader's voice be heard as the beloved's. Her previous confidence, having just been musically conveyed through a florid perfect cadence, is lost. She is reduced to recitative-like stammering (“Oh...

... der Maler (1934); Piano Sonata No. 1 (1936); Messiaen, “Louange à l’Éternité de Jésus,” Quatuor pour la Fin du Temps (1941) Schoenberg, Variations on a Recitative (1941) Aaron Copland, Fanfare for the Common Man (1942) Hindemith, Interludium in E♭, Ludus Tonalis (1942...

... Liebe recorded 1959.) Flagstad, Kirsten, soprano, and Edwin McArthur, piano. n.d. A Song Recital . RCA Victor LM 1738. Norman, Jessye, soprano, and Geoffrey Parsons, piano. 1980 . Brahms Lieder . Philips 9500 785. Humperdinck and Wagner Metric States, Symmetries, and Systems...

... gradually fades into the other during the arpeggiation.21 A similar situation may be found at the beginning of the last movement from Beethoven’s Piano Sonata in A major, op. 110. As the annotations in Example 10a indicate, the opening recitative♭ ends in m. 8...

... Musica di Napoli . Naples: Gervasi. Groth, Renate. 1978 . “Zur Theorie der Musik bei François-Joseph Fétis.” In Heinrich Sievers zum 70. Geburtstag , ed. Günter Katzenberger, 47 -57. Tutzing: Schneider. Hansell, Sven Hostrup. 1968 . “The Cadence in 18th-Century Recitative.” Musical...