{"title":"Cadential Melodies","authors":"Kyle Hutchinson, M. Poon","doi":"10.30535/mto.28.2.4","DOIUrl":null,"url":null,"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.","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":null,"pages":null},"PeriodicalIF":0.4000,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Music Theory Online","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.30535/mto.28.2.4","RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"MUSIC","Score":null,"Total":0}
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.
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.