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The harmonic dualist notion of two commensurate ‘systems’ – authentic and plagal – proposed by Daniel Harrison in 1994 has not been widely accepted, but it enabled him to uncover strong plagal elements in the music of late nineteenth‐century European composers, and it gives much heft to the...
The literature on continuous exposition is characterised by two features: (1) concentration on the music of Haydn and (2) the examination of fast movements. This essay deviates from these starting points by examining Mozart's slow movements. The aim is to give close readings of a small number of...
One of the most distinctive developments in György Kurtág's output from the beginning of the 1980s is his setting of incomplete texts. He entitles these songs ‘fragments’, suggesting that they are musical scraps that accompany the extracts from great writers’ works. Kurtág's most representative...
Commencing from an elaboration of extant theoretical and analytical positions in Monteverdi studies, this article closely analyses two of the most well‐known arias from Claudio Monteverdi's earliest opera, L'Orfeo (1607), from the melodic perspective of the Karnatik music of South India. In...
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