Welcome to Scribd. Sign in or start your free trial to enjoy unlimited e-books, audiobooks & documents.Find out more
Standard view
Full view
of .
Look up keyword
Like this
0 of .
Results for:
No results containing your search query
P. 1
The Path From Tonic to Dominant in the Second Movement of Schubert s String Quintet and in Chopin s Fourth Ballade

The Path From Tonic to Dominant in the Second Movement of Schubert s String Quintet and in Chopin s Fourth Ballade

Ratings: (0)|Views: 101|Likes:
Published by Jose Parra
The Path From Tonic to Dominant in the Second Movement of Schubert s String Quintet and in Chopin s Fourth Ballade
The Path From Tonic to Dominant in the Second Movement of Schubert s String Quintet and in Chopin s Fourth Ballade

More info:

Published by: Jose Parra on Nov 22, 2009
Copyright:Attribution Non-commercial


Read on Scribd mobile: iPhone, iPad and Android.
download as PDF, TXT or read online from Scribd
See more
See less





Yale University Department of Music
The Path from Tonic to Dominant in the Second Movement of Schubert's String Quintet andin Chopin's Fourth BalladeAuthor(s): Lauri SuurpaaSource:
Journal of Music Theory,
Vol. 44, No. 2 (Autumn, 2000), pp. 451-485Published by: Duke University Press on behalf of the Yale University Department of MusicStable URL:
Accessed: 22/11/2009 06:28
Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available athttp://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unlessyou have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and youmay use content in the JSTOR archive only for your personal, non-commercial use.Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained athttp://www.jstor.org/action/showPublisher?publisherCode=duke.Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printedpage of such transmission.JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new formsof scholarship. For more information about JSTOR, please contact support@jstor.org.
 Duke University Press
Yale University Department of Music
are collaborating with JSTOR to digitize,preserve and extend access to
 Journal of Music Theory.
IntroductionInFreeCompositionSchenkerbeginsthediscussionofthe middle-groundlevelbydescribingdifferentwaysin which thetonic-dominantspaceof theBassbrechung,hespacebetween the firsttwobackgroundStufen,can be filled in(Schenker1979,29-31andFigure14).This innersubdivision of thespacebetween IandVgreatlyaffects thetonalorga-nization ofmusic and Schenkersuggeststhat it alsoinfluences the form.Hedemonstrates hat thismotionmayencompasseitherall of thenoteslocated between I and Voronlyone or two of them.AlthoughSchenkerspeaks onlyabout the first level of themiddleground,imilarspace-fill-ing patternsalsooccur at more locallevels. Thisphenomenon,herefore,organizestheunfoldingofboth local andglobalmusicalspans.Example1showsthree commonpatternsof suchtonic-dominantmotions.Ineach of theexampleslal, bl1,andIclthere sonlyonenote451
Example1. Three common I-Vpatternsbetween I and V: inlalthe basstraverseshespanvia3,and so the har-monic structure sI-I6/III-V;nIbl via4,the harmonicstructurebeingI-II6/IV-V;andinIclvia2,and theharmonysI-II-V. These funda-mental harmonicprogressionscangoverneventhoughtheremightbenotes otherthanthose shown inexampleslal, lbl,andlc. This can beseeninexamplesla2, lb2,andlc2,where the I-V motionsareentirelystepwise.2In thepresentstudyIshall discuss motivicassociationscreatedbyfilled-in I-V motions in twoworks: the second movementofSchubert'sC-majorStringQuintet,D.956,andChopin'sFourthBalladein Fminor,op.52. It would seemthat inbothpiecesseveral nstances ofabasicallystepwiseI-Vmotion,occurringat differentstructuralevels,createmo-tivic connections. Before such associations can beexamined,however,one must define the conditions underwhich these instances canarise. Itwould seem dubious tograntautomaticallymotivicsignificanceto alltonic-dominantmotions. Since such motions are souniversalintonalmusic,several occurrencesof them in agiven piecedo notnecessarilycreatesignificantconnections.That stosay,ifcertainphenomenaare tobe foundin alargenumberof tonalworks,theiroccurrencesnonepiecedo notyetcreate motivic associations characteristicofjustthatpiece.Nevertheless,fthereissomethingthatdrawsattention o several occur-rences of a commonphenomenon,these eventsmaycreateimportantconnectionswithin a work.If,forexample,similar chromaticelabora-tionsor innersubdivisionsnvariousI-V motions can befound,onemayspeakof motivicfactors that are characteristicof thegivenwork. I452a)

Activity (8)

You've already reviewed this. Edit your review.
1 hundred reads
pisgio liked this
manbrassband liked this
bogdanchitara liked this
SCELSI8 liked this
cvarsendan liked this

You're Reading a Free Preview

/*********** DO NOT ALTER ANYTHING BELOW THIS LINE ! ************/ var s_code=s.t();if(s_code)document.write(s_code)//-->