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TRANSFORMATIONAL STREAMS: UNRAVELING MELODIC PROCESSES IN TWENTIETH-CENTURY MOTIVIC MUSIC

TRANSFORMATIONAL STREAMS: UNRAVELING MELODIC PROCESSES IN TWENTIETH-CENTURY MOTIVIC MUSIC C5 G5 (0 3 7) (0 1 5 6) (0 1 5 6) E 5 (sounds as wtten) 2 3 4 Clanet in B expressif (0 1 4) i1 1 (0 1 5) -1 -4 i11 -1 -3 -1 -3 1) Interval Expansion +4 2) Inversion +4 +1 3) Retrograde -6 +1 -6 -1 Contour Alteration +5 Retrograde Inversion 4) Interval Expansion Rotation Example 1. Messiaen, Quatuor pour la fin du temps, mvt. 1, Liturgie de cstal These include rhythmic augmentation and diminution, interval expansion and contraction, the deletion of motivic pitches, the insertion of nonmotivic pitches, tonal adjustments to intervals, chromatic inflections, truncation, reordeng, fragmentation, additive processes, transposition, and other ordered as well as unordered operations in pitch and pitch-class space. Motivic contexts can become even more complicated if the means of motivic vaation is not employed systematically throughout a composition. Under these conditions, motivic analysis can—and often does—become inconsistent and capcious. Yet in noting the presence of equivalent operations leading to the same expanded motive forms, Lora Gingech (1986, 90) implies that motivic expansion might in some cases be reduced to only a few repetitive operations, thus allowing for a more systematic approach to motivic analysis. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Music Theory Duke University Press

TRANSFORMATIONAL STREAMS: UNRAVELING MELODIC PROCESSES IN TWENTIETH-CENTURY MOTIVIC MUSIC

Journal of Music Theory , Volume 48 (1) – Jan 1, 2004

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Publisher
Duke University Press
Copyright
Copyright 2004 by Yale University
ISSN
0022-2909
eISSN
1941-7497
DOI
10.1215/00222909-48-1-69
Publisher site
See Article on Publisher Site

Abstract

C5 G5 (0 3 7) (0 1 5 6) (0 1 5 6) E 5 (sounds as wtten) 2 3 4 Clanet in B expressif (0 1 4) i1 1 (0 1 5) -1 -4 i11 -1 -3 -1 -3 1) Interval Expansion +4 2) Inversion +4 +1 3) Retrograde -6 +1 -6 -1 Contour Alteration +5 Retrograde Inversion 4) Interval Expansion Rotation Example 1. Messiaen, Quatuor pour la fin du temps, mvt. 1, Liturgie de cstal These include rhythmic augmentation and diminution, interval expansion and contraction, the deletion of motivic pitches, the insertion of nonmotivic pitches, tonal adjustments to intervals, chromatic inflections, truncation, reordeng, fragmentation, additive processes, transposition, and other ordered as well as unordered operations in pitch and pitch-class space. Motivic contexts can become even more complicated if the means of motivic vaation is not employed systematically throughout a composition. Under these conditions, motivic analysis can—and often does—become inconsistent and capcious. Yet in noting the presence of equivalent operations leading to the same expanded motive forms, Lora Gingech (1986, 90) implies that motivic expansion might in some cases be reduced to only a few repetitive operations, thus allowing for a more systematic approach to motivic analysis.

Journal

Journal of Music TheoryDuke University Press

Published: Jan 1, 2004

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