{"title":"克拉拉·舒曼作品第16号3、“上五下三”:辨别颠倒的正典势","authors":"Scott Murphy","doi":"10.30535/smtv.8.2","DOIUrl":null,"url":null,"abstract":"This video equips the viewer with a method to determine if a melody can support tonally idiomatic inverted canonic combinations, detecting not only diatonic consonances but also prohibited parallel motions. This method reveals that the subject for the third fugue from Clara Schumann’s op. 16 can form two dubious combinations at a particular time delay; she concludes her fugue with an ameliorating hybrid of these two combinations.","PeriodicalId":305096,"journal":{"name":"The Society for Music Theory Videocast Journal","volume":"1 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Clara Schumann's op. 16 no. 3 and \\\"Fifth Above, Third Below\\\": Discerning Inverted Canonic Potential\",\"authors\":\"Scott Murphy\",\"doi\":\"10.30535/smtv.8.2\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"This video equips the viewer with a method to determine if a melody can support tonally idiomatic inverted canonic combinations, detecting not only diatonic consonances but also prohibited parallel motions. This method reveals that the subject for the third fugue from Clara Schumann’s op. 16 can form two dubious combinations at a particular time delay; she concludes her fugue with an ameliorating hybrid of these two combinations.\",\"PeriodicalId\":305096,\"journal\":{\"name\":\"The Society for Music Theory Videocast Journal\",\"volume\":\"1 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2022-03-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"The Society for Music Theory Videocast Journal\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.30535/smtv.8.2\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"The Society for Music Theory Videocast Journal","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.30535/smtv.8.2","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
Clara Schumann's op. 16 no. 3 and "Fifth Above, Third Below": Discerning Inverted Canonic Potential
This video equips the viewer with a method to determine if a melody can support tonally idiomatic inverted canonic combinations, detecting not only diatonic consonances but also prohibited parallel motions. This method reveals that the subject for the third fugue from Clara Schumann’s op. 16 can form two dubious combinations at a particular time delay; she concludes her fugue with an ameliorating hybrid of these two combinations.
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