Get 20M+ Full-Text Papers For Less Than $1.50/day. Start a 14-Day Trial for You or Your Team.

Learn More →

Harmonic Cross-Reference and the Dialectic of Articulation and Continuity in Sonata Expositions of Schubert and Brahms

Harmonic Cross-Reference and the Dialectic of Articulation and Continuity in Sonata Expositions... Associative harmony functions as a powerful resource through which Schubert and Brahms fashion continuities within the dialectic of articulation and continuity that stands at the heart of the Viennese sonata style. More specifically, the technique of harmonic cross-reference provides these composers with one among a number of integrative strategies to counterbalance the threat of self-contained lyricism in the middle sections of their tripartite expositions. In one type of expositional context, this integration involves harmonic linkage designed specifically to efface a formal boundary. In a second type, it involves a more general sense of continuity between formal sections. The study of harmonic cross-reference in the three-key expositions of Schubert's Quartettsatz and String Quintet and Brahms's Second Symphony and Clarinet Trio reveals a tension between functional distinctions for the sonorities involved (as defined by Schenkerian analysis), and the interconnection of these sonorities in processes of motivic development. Through this motivic interconnection, the sonorities achieve an ontological status partially independent of their individual linear-contrapuntal environments. Each motivic harmony gains meaning through its particular tonal function, but each also exists within a network of associative connection based more generally on chord identity. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Music Theory Duke University Press

Harmonic Cross-Reference and the Dialectic of Articulation and Continuity in Sonata Expositions of Schubert and Brahms

Smith, Peter H.
Journal of Music Theory , Volume 50 (2) – Jan 1, 2006
Download PDF
38 pages

Loading next page...
 
/lp/duke-university-press/harmonic-cross-reference-and-the-dialectic-of-articulation-and-A8NkkexxdU

References

References for this paper are not available at this time. We will be adding them shortly, thank you for your patience.

Publisher
Duke University Press
Copyright
Duke University Press
ISSN
0022-2909
eISSN
1941-7497
DOI
10.1215/00222909-2008-014
Publisher site
See Article on Publisher Site

Abstract

Associative harmony functions as a powerful resource through which Schubert and Brahms fashion continuities within the dialectic of articulation and continuity that stands at the heart of the Viennese sonata style. More specifically, the technique of harmonic cross-reference provides these composers with one among a number of integrative strategies to counterbalance the threat of self-contained lyricism in the middle sections of their tripartite expositions. In one type of expositional context, this integration involves harmonic linkage designed specifically to efface a formal boundary. In a second type, it involves a more general sense of continuity between formal sections. The study of harmonic cross-reference in the three-key expositions of Schubert's Quartettsatz and String Quintet and Brahms's Second Symphony and Clarinet Trio reveals a tension between functional distinctions for the sonorities involved (as defined by Schenkerian analysis), and the interconnection of these sonorities in processes of motivic development. Through this motivic interconnection, the sonorities achieve an ontological status partially independent of their individual linear-contrapuntal environments. Each motivic harmony gains meaning through its particular tonal function, but each also exists within a network of associative connection based more generally on chord identity.

Journal

Journal of Music Theory – Duke University Press

Published: Jan 1, 2006

There are no references for this article.