The origins of pervasive imitation

Cumming, Julie E.; Schubert, Peter

doi:10.1017/cho9781139057813.018

Cited by 5 publications

References 23 publications

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Metric Manipulations in Post-Tonal Music

Sullivan¹

2021

Music Theory Spectrum

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This article explores the continued use of eighteenth-century metric manipulations by composers of the twentieth and twenty-first centuries. These manipulations, called imbroglio, close imitation, and imitative imbroglio, are motive-driven and involve the perceptual interaction of meter, motivic parallelism, and perceptual streaming. Their defining features and local perceptual effects, which primarily involve metrical dissonance, are demonstrated in short passages by Schoenberg, Penderecki, Britten, Debussy, Webern, Barber, and Adès. Their larger form-functional and text-expressive potential is demonstrated in analyses of longer passages by Schoenberg, Webern, and Barber.

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Metric Manipulations in Post-Tonal Music

Sullivan¹

2021

Music Theory Spectrum

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Evidence of the Creative Process in Early Music

Owens

2022

The Oxford Handbook of the Creative Process in Music

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The investigation of musical creativity in early music proceeds largely through three approaches. One involves the study of surviving composer autographs and other evidence of musical composition. These material remains can shed light on the genesis of music that has been preserved in written form. This approach, however, cannot account for kinds of musical creativity that do not involve writing. An important new set of investigations deals with cultural practices, such as the widespread use of improvisation in performance and pedagogy or the role of memory. A third approach that is proving promising is the study of the music itself for evidence of its genesis by specialists with a deep understanding of specific repertories and associated music theoretical writing.

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Thomas Campion’s “Chordal Counterpoint” and Tallis’s Famous Forty-Part Motet

Schubert

2018

MTO

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The compositional process behind the iconic Tallis forty-part motet, Spem in alium (ca. 1570) remains an enigma. Did he really check every pair of voices for illegal parallels? The author proposes a scenario based on Thomas Campion’s “Rule” for connecting notes in three voices above a bass. This very clever system ensures the presence of all three interval-classes above the bass (third, fifth, and root), and makes parallels impossible. The treatise was widely reprinted, and it is likely that the system was known well before its appearance around 1614. Any composer who knew this system could have grouped the melodic motions above the bass in such a way as to make the task of writing in so many parts more manageable. Campion believed that the bass was the principal melodic voice, and glimpses into the disposition of the soggetti in Tallis’s motet reveal that the bass is indeed the soggetto in the thick-textured sections.

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The origins of pervasive imitation

Cited by 5 publications

References 23 publications

Metric Manipulations in Post-Tonal Music

Metric Manipulations in Post-Tonal Music

Evidence of the Creative Process in Early Music

Thomas Campion’s “Chordal Counterpoint” and Tallis’s Famous Forty-Part Motet

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