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Timeless Reflections: Form, Cadence and Tonal Structure in the Scherzo and Finale of Schubert's String Quintet

Timeless Reflections: Form, Cadence and Tonal Structure in the Scherzo and Finale of Schubert's... Schubert's Quintet in C major has drawn the attention of a number of Schenkerian analysts. While most have examined aspects of form and tonal structure within specific movements (Beach 1993, 1994 and 1995; Smith 2006; and Suurpää 2000), others have attempted to analyse the entire Quintet along a single linear trajectory (Rast 1998). In general, however, Schenkerian analyses of this piece have emphasised the opening two movements, and they have quite understandably done so from a mainly teleological perspective. However, such a perspective stands in stark contrast to the more retrospective, introspective and lyrical qualities that the Quintet exhibits (Gingerich 2000). http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Music Analysis Wiley

Timeless Reflections: Form, Cadence and Tonal Structure in the Scherzo and Finale of Schubert's String Quintet

Music Analysis , Volume 33 (2) – Jan 1, 2014

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Publisher
Wiley
Copyright
Music Analysis © 2014 John Wiley & Sons Ltd
ISSN
0262-5245
eISSN
1468-2249
DOI
10.1111/musa.12028
Publisher site
See Article on Publisher Site

Abstract

Schubert's Quintet in C major has drawn the attention of a number of Schenkerian analysts. While most have examined aspects of form and tonal structure within specific movements (Beach 1993, 1994 and 1995; Smith 2006; and Suurpää 2000), others have attempted to analyse the entire Quintet along a single linear trajectory (Rast 1998). In general, however, Schenkerian analyses of this piece have emphasised the opening two movements, and they have quite understandably done so from a mainly teleological perspective. However, such a perspective stands in stark contrast to the more retrospective, introspective and lyrical qualities that the Quintet exhibits (Gingerich 2000).

Journal

Music AnalysisWiley

Published: Jan 1, 2014

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