The Descending Tetrachord: An Emblem of Lament

Rosand, Ellen

doi:10.1093/mq/lxv.3.346

Cited by 90 publications

(15 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…See Hilse 1973, 103-04. 30 In this regard, see Rosand 1979. 6 and 7, the invertible zone ends just before the arrival of b II 6 and II°6, respectively, since after this arrival, the continuations of both passages diverge from each other (not shown): the former wends its way towards a i:HC and the latter a i:PAC (which eventually occurs after the deceptive move to VI in m. 73).…”

Section: Analyses Of Pieces Involving Two Invertible Partsmentioning

confidence: 97%

The Theory and Practice of Integrating Invertible Counterpoint into Classical Theme-Types

Franck¹

2013

View full text Add to dashboard Cite

This essay investigates the use of invertible counterpoint within conventional theme-types encountered within Classical-style works. Whereas recent research has focused on how this contrapuntal technique provides a means of creating continuity, this article expands the purview by elucidating how it works in concert with theme-types, forms regulated by cadences (devices that arguably suppress continuity). A basic model provides the theoretical framework with which to analyze excerpts from a selection of works by Beethoven, Haydn, and Mozart. The analyses reveal that some theme-types are more successful than others at integrating invertible counterpoint into their formal design. Moreover, the analyses uncover the purpose of using invertible counterpoint within theme-types.Cet article examine l’utilisation du contrepoint réversible dans le cadre d’oeuvres thématiques conventionnelles de la tradition classique. Alors que de récentes recherches ont étudié comment cette technique contrapuntique peut créer une continuité, cet article contribue à cette question en montrant comment cette technique fonctionne de concert avec l’écriture thématique et les formes organisées par les cadences, et qui ont le propre d’interrompre la continuité. Un modèle de base sert de cadre théorique permettant l’analyse d’extraits tirés d’une sélection d’oeuvres de Haydn, Mozart et Beethoven. Les analyses montrent que certains types d’écriture thématique intègrent mieux que d’autres l’utilisation du contrepoint réversible dans leur organisation formelle. De plus, ces analyses mettent en lumière les divers rôles du contrepoint inversé dans les différentes formes thématiques

show abstract

Section: Analyses Of Pieces Involving Two Invertible Partsmentioning

confidence: 97%

The Theory and Practice of Integrating Invertible Counterpoint into Classical Theme-Types

Franck¹

2013

View full text Add to dashboard Cite

show abstract

“…rán algunos poetas y músicos humanistas italianos a finales del siglo XVI -Monteverdi será el mayor referente -para dar vida a las primeras representaciones melodramáticas de la monodia acompaña-da, en su pretensión de restaurar lo que pensaban que había sido el arte musical en la tragedia antigua (ROSAND, 1979).…”

Section: Núm 19 | Enero 2018 Núm 19 | Enero 2018unclassified

Versa Est in Luctum: Un Lamento Fúnebre Renacentista Español

Izquierdo

2018

Artseduca

View full text Add to dashboard Cite

ResumenDentro de la tradición occidental del lamento fúnebre, en el ámbito cultural de la música del Renacimiento hispano, destaca un motete directamente relacionado con programas litúrgicos: el "Versa est in luctum". Este artículo presenta, desde una perspectiva histórica, el estudio de cuatro de estas obras sobre el "Versa", todas ellas muy representativas de la estética luctuosa en España durante el siglo XVI, mucho más si tenemos en cuenta a sus autores, ya que cada uno de ellos está entre los más importantes compositores de música polifónica religiosa de su tiempo. Ellos son:

show abstract

“…determines the content of the subject' ([1926] 1996, p. 34). In Free Composition he indicates the polyphonic structures of several fugue subjects ([1935([ ] 1979§243, Fig. 109e/5;and §322, Fig.…”

Section: Notesmentioning

confidence: 99%

“…Renwick observes that 'a chromatic descent of a perfect fourth [is] often used as a bass motion from tonic to dominant [and] is frequently infused with the quality of lament ' (2006, p. 69). Rosand (1979) explores the prevalence of the descending minor tetrachord as an ostinato during the Baroque and observes that J. S. Bach uses it as an 'emblem of lament' in the Capriccio in B b major, BWV 992 (1979, pp. 358-9).…”

Section: '[M]mentioning

confidence: 99%

Triple Counterpoint and Six‐Four Chords in Bach's Sinfonia in F Minor

Stoia¹

2015

Music Analysis

View full text Add to dashboard Cite

's mastery of triple counterpoint is evident in all of his works based on the compositional technique. These pieces include the Sinfonia (Three-Part Invention) in D major, BWV 789; the Prelude in A major from The Well-Tempered Clavier, Book I, BWV 864; the Fugue in F # major from The Well-Tempered Clavier, Book II, BWV 882; and the Sinfonia in F minor, BWV 795. Of these, the Sinfonia in F minor stands out, by virtue of Bach's bold departures from conventional practices of dissonance treatment and harmonic syntax with respect to six-four chords, licence that he takes to accommodate thematic material in the bass.This essay explores several interrelated musical components central to the extraordinary nature of the piece: the polyphonic structure of the subject and the transferred resolution of its most prominent dissonance; the above-mentioned departures from conventional treatment of six-four chords; the altered linear and harmonic meanings of the three lines -subject (S), countersubject (CS1) and second countersubject (CS2) -in the context of modulation via auxiliary cadence; Bach's use of particular permutations to mark with perfect authentic cadences both keys and sections of form; and his use of certain permutations to create a prolongational structure on a deep middleground level.A formal chart of the piece (Table 1) indicates bars, permutations (or vertical arrangements of the subject and countersubjects), thematic statements and episodes, keys, cadence types and several other factors discussed in the course of the essay. I follow Daniel Harrison (1988) in treating the 'conjugation' as an important formal indicator and source of compositional technique in the context of triple counterpoint (Table 2): there are six possible arrangements of the three lines in triple counterpoint; the two conjugations are the two collections of three arrangements each in which each line appears once in each voice.1 The essay also briefly explores the views of the eighteenth-century theorists Johann Philipp Kirnberger and Friedrich Wilhelm Marpurg regarding six-four chords in invertible counterpoint; Bach's employment of melodic and cadential formulas common in eighteenth-century fugue and partimento; and the descriptions of those cadential formulas by several seventeenth-and eighteenthcentury theorists.Throughout much of the essay I employ conventional Schenkerian analytical techniques, including some methods particularly applicable to the study of imitative counterpoint, such as the examination of the polyphonic and harmonic content intrinsic to many fugal subjects and the reduction of the melodic Music Analysis, 34/iii (2015) 305

show abstract

The Descending Tetrachord: An Emblem of Lament

Cited by 90 publications

References 0 publications

The Theory and Practice of Integrating Invertible Counterpoint into Classical Theme-Types

The Theory and Practice of Integrating Invertible Counterpoint into Classical Theme-Types

Versa Est in Luctum: Un Lamento Fúnebre Renacentista Español

Triple Counterpoint and Six‐Four Chords in Bach's Sinfonia in F Minor

Contact Info

Product

Resources

About