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Janet Schmalfeldt (1992)
Cadential processes: The evaded cadence and the “one more time” techniqueJournal of Musicological Research, 12
Straus Straus (1997)
A Response to LarsonJournal of Music Theory, 41
Joseph Straus (1987)
The Problem of Prolongation in Post-Tonal MusicJournal of Music Theory, 31
R. Bass (1988)
Prokofiev's Technique of Chromatic DisplacementMusic Analysis, 7
Peter Child (1993)
Voice-Leading Patterns and Interval Collections in Late Shostakovich: Symphony No. 15Music Analysis, 12
Matthew Bribitzer-Stull (2006)
The cadenza as parenthesis: An analytic approachJournal of Music Theory, 50
William Hussey (2003)
Triadic Post-Tonality and Linear Chromaticism in the Music of Dmitri ShostakovichMusic Theory Online, 9
Steve Larson (1997)
The Problem of Prolongation in "Tonal" Music: Terminology, Perception, and Expressive MeaningJournal of Music Theory, 41
W. Caplin (2004)
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Peter Smith (1994)
Brahms and Schenker: A Mutual Response to Sonata FormMusic Theory Spectrum, 16
F. Lerdahl (1997)
Issues in Prolongational Theory: A Response to LarsonJournal of Music Theory, 41
Patrick McCreless (1995)
Shostakovich Studies: The cycle of structure and the cycle of meaning: the Piano Trio in E minor, Op. 67
Insertions between the structural dominant and tonic of underlying perfect cadences delay and intensify progressions of harmony, voice leading and hypermetre. More disruptive than other evaded cadences, these cadential interventions ultimately still serve to unify the music through motivic development. Brief analysis of excerpts from the works of J.S. Bach and Haydn demonstrates the traditional use of cadential intervention and prepares for the analysis of an idiomatic approach by Shostakovich. His Prelude in C♯ minor, Op. 34 No. 10, and Second Piano Trio, Op. 67, contain extraordinary cadential interventions that seem to break continuity, on the one hand, yet serve vital unifying roles in the larger context of each piece, on the other. Since both structural and hermeneutical meaning in the Trio hinges on interpretation of its tonal closure, the cadential intervention at its conclusion receives special attention. Modified Schenkerian analysis invites an alternative approach, showing how an underlying complete tonal structure may substantiate a complete narrative.
Music Analysis – Wiley
Published: Jul 1, 2013
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