Cadential Melodies

IF 0.4 2区 艺术学 0 MUSIC
Kyle Hutchinson, M. Poon
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引用次数: 0

Abstract

This article proposes that engaging with structural melodic content can expand how we conceive of cadential function and add nuance to the more harmonically driven approaches of Caplinian form-functional theory. Drawing on discussions by Schenker, Marx, and Schoenberg, we posit parallels between structural melodic configurations and the temporal formal functions of Caplinian theory. Through several analytic examples we suggest that certain melodic directions have default association with Caplin’s temporal functions: ascending lines are typically associated with initiating functions, while the static prolongation of structural tones typically serves as either initiating or medial functions. Conversely, descending melodic lines, especially terminating on ".fn_scaledegree(1)." (authentic cadences) or ".fn_scaledegree(2)." (half cadences) are endemic of concluding functions. We do not suggest that melodic considerations replace harmonic ones, but rather conclude that the two domains are symbiotic in the sense that melodic consideration can reinforce or undermine harmonic ones, and vice versa. Ultimately, we use this rebalancing of analytic focus as a means of reengaging with various problematic phrase types and suggest further efficacy for this approach with respect to nineteenth-century formal expansions.
节奏的旋律
本文提出,研究结构旋律内容可以扩展我们对节奏功能的理解,并为卡普里尼形式功能理论中更为和谐的方法增添细微差别。根据申克、马克思和勋伯格的讨论,我们假设结构旋律配置与卡普里尼理论的时间形式函数之间存在相似之处。通过几个分析实例,我们发现某些旋律方向与Caplin的时间功能有默认关联:上升线通常与起始功能相关,而结构音调的静态延长通常作为起始功能或中间功能。相反,下行旋律线,尤指以“。fn_scaledegree(1)”结束。(真实的节奏)或“。fn_scaledegree(2)”。(半抑止)是结束功能特有的。我们并不认为旋律的考虑取代了和声的考虑,而是得出结论,这两个领域是共生的,在某种意义上,旋律的考虑可以加强或破坏和声,反之亦然。最后,我们使用这种分析焦点的再平衡作为重新参与各种有问题的短语类型的手段,并建议这种方法在19世纪形式扩展方面的进一步功效。
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来源期刊
CiteScore
1.70
自引率
25.00%
发文量
26
审稿时长
42 weeks
期刊介绍: Music Theory Online is a journal of criticism, commentary, research and scholarship in music theory, music analysis, and related disciplines. The refereed open-access electronic journal of the Society for Music Theory, MTO has been in continuous publication since 1993. New issues are published four times per year and include articles, reviews, commentaries, and analytical essays. In addition, MTO publishes a list of job opportunities and abstracts of recently completed dissertations.
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