... apparatus. I suggest, however, that by using the vantage point of variation, conceived broadly, not just as a technique but as a manner of organizing musical thoughts, new insights can emerge about these passages. This wider conception of variation is sanctioned both by historical precedent (Daube, Koch...

...James N. Bennett This article develops a method for interpreting Béla Bartók's early tonal practice that supposes a conceptual shift from a relatively historically static major-minor tonality to a multivalent, “evolving” tonality in which works express individual variations on abstract, communal...

... schemas are defined in terms of characteristic melodic profiles, harmonic contexts, formal roles, and expressive associations. One representative schema, the “O cielo,” is used to demonstrate the musical features and range of variation characteristic of all recitative schemas. The formal associations...

...Figure 2. Enhanced metrical map of variation 1 (Blue Bird). HC, half cadence; IAC, imperfect authentic cadence; PAC, perfect authentic cadence. ...

... approach toward form, anticipating—perhaps even defining—the quest that Beethoven would pursue in this medium. The sixth quartet of opus 76, in E≤ major, has been generally recognized as a work of special significance, due to its unusual design—beginning with an imposing variations movement based...

... and stride are summarized in Table 1.3 The fusion of these three genres created a form characterized by Brown as consisting of “short, repeated refrains.” Brown also notes that these short refrains are subject to “variations” often based on “patterns” (1986, 21). His use of the words...

... segments that are nested but not overlapping. Bases for inclusion in a segment include contrast as well as “patterns and repetitions that have beginnings and endings,” and, according to Tenzer, the music of a segment can be repeated “with or without variation...

... to this point in the transition, the primary focus has been on the movement from subdominant minor chords to tonic major, based on the A1 sections of “Night and Day.” The next part of the transition introduces the A2 “chromatic descent” section by an improvised variation on it which is transcribed...

.... 285 section A A B subsection a a b a a b c c b measures 1–4 5–8 9–16 17–20 21–24 25–32 33–36 37–40 41–48 Example 1 Jazz performances are often described as having the form of a theme and variations...

... over a major or minor second. (Stravinsky himself called this effect his stutter, in an interview about a late composition, Elegy for J.F.K.)3 She calls the phenomena she tracks “spec- tra,” a spectrum being (it seems) a range of potential variation affecting various parameters, both within...