TH USE OF SILENCE IN THE INSTRUMENTAL WORKS . or REPRESENTATIVE COMPOSERS! BAROQUE, CLASSIC, ROMANTIC Presented by Wallis Dwight Braman e -_ 7 To fulfill the dissertation requirement for the degree of Dector of Philesephy Department ef Theory Sastuan Scheel of Music of the University of Rechester July 1956Acknowledgements The author wishes to acknowledge his indebtedness te his faculty advisors, Dr, Allen Irvine McHose and Mr. Bernard Rogers for guidance and criticism, and to Dr. Ruth Watanabe for editorial assistance.rhe wor Aur vote Biographical Sketch wR ‘The author was born in 1908 in Cleveland, Ohio, attended the Cleveland Public Schools and Hiram College, and was graduated from Baldwin-Wallace College with the B. S. M. degres. In 1940 he received an HM, M. in Music Education from the Eastman Sehool of Music. He has taught in the public schools of the states of West Virginia and New York. During World War II he served in Burope in the Field Artillery. Since 1947 he has been associate professor of music, and since 1953 head of the music department at West Liberty State College, West Liberty, West Virginia. ees be « Colle JPREFACE ‘There is a bit of deception, at once familiar and en- jeyable, in the finale ef Haydn's Quartet, Opus 33, Number 2, which causes amusenent every time it is beard. The uninitiated Uistener is thrown off guard while the initiated enjoys watch- ing the former's good natured embarrassment. Here is how the deception works, Towards the end ef the movement, after one of the many returus to the main theme of this rondo, Haydn introduces a few measures of Adagio followed -ggakm by the “a” theme of the quick tempo, this time spelled out » phrase at & tine with two measures of general rest separating each phrase, Like students in a class in harmonic dictstion we hear phrase one "ive measures of rest (all four instruments silent), phrase tvo ~ two measures of rest, phrase three ~ two weasures ef rest, and then phrase four with an unmistakable final cadence (scattered applause), There is no reason why this should not be the end, But Haydn has to have his joke. After four measures of rest, this tine he starts up again with the firat phrase; aad this is really the end. In Siegfried's Funeral Music from Wagner's Twilicht ef the Gods there are long, solemn pauses betveen somber sounds, as though Time not measured off by seuad wera an kternity, or No-Time. In tha sixth measure of Debussy's Prelude to theAfternoon of 9 Faun there is a languorous wait before a sesend™ rousing out of reverie. In Schubert's Unfinished Symphony there is a tapering off at the end ef the passage where the violins have taken up the lyrical second theme after its an- nouncement by the cellos. The seund ia left dangling on the last half beat of the measure by virtue of the full measure of G, P. which follows, which, in turn, is interrupted by a 0 adnor chord, fortiesime-diminuende and tremulant. The common ingredient in all these examples is ment where all sound is stepped; there is a total silence in all voices, and the silence is of long enough duration that we are made aware of the silence for its own sake, Reflection on this device as used in these particular pieces, and in others, stimulated the author's curiosity as to how widespread ‘the use of silence is among composers, and as to how long a Aistory it has in instrumental msic. Speculation as to the possibility of classifying the musical situations under which such silences are encountered and noting trends of usage with Andividual composers or within entire perieds has led to the present investigation. Little need be added to the implication of the title as to the scope of this thesis, save, perhaps, that the term “instrumental” here includes keyboard works as well as works for orchestra, chaaber music ensembles, and the like. AadProcedure is as follows: Chapter I includes 9 dis- eussion as to vhat constitutes silence in musicyand a classifi- cation of silences based upon the points at which they occur in forms, the nature of the passages in which they are included, and the effects, subjective or otherwise, they may produce. Subsequent chapters deal with individual composers or with convenient groups of composers shoving the manner and frequency of their use of this device. Statistical data centained in this study is approximate ‘and should be given broad interpretation, == _ ivTABLE OF CONTENTS PREFACE, so ee ee eee eee e rere esee CHAPTER I, DEFINITIONS AND FOC TATION » SCALING OF SILENCE DURATIONS. THE "SBLF- ASSERTIVE" SILENCE. “CLASSIFICATIONS CHAPTER II, TRENDS OF THE SEVENTEENTH CENTURY . CHAPTER III, CORELLI, MUFFAT, PURCELL... 2. CHAPTER IV. _ HANDEL, VIVALDI, RAMEAU. 2 sos CHAPTER V. ReuGRREATTIS CePoE. BACH, THE MANNHEIM SCHOOL. see ces ee CHAPTER VI. HAYDN, MOZART. «os CHAPTER VII. BEETHOVEN, SCHUBERT. ». 44.406 CHAPTER VIII. MENDELSSOHN, SCHUMANN, CHOPIN, BRAHMS. CHAPTER IX, BERLIOZ, LISZT, WAGNER, STRAUSS. . . GENERAL SUMMARY oe eee een eesevecne BIBLIOOMAPAY oo sc es cee terete esse 168 186 226 270 296 322 333CHAPTER I DEFINITIONS AND LIMITATIONS SCALING OF SILENCE DURATIONS THE “SELF-ASSERTIVE" SILENCE CLASSIFICATIONS Definitions and Limitations Silence is time without sound. In music where there is the codperation of more than one performer, one or more of the parts may be stilled while the others continue, In this case neither the listeners nor the performers, who are also listeners, experience silence. For the sake of speculation, however, we could speak of gradations of "partial" silences when there is an approach to “total” silence by the reduction of instrumenta- tion and intensity, and when the amplitude of melodic line is so narrow that it is like a mumble, Music abounds in such ex- amples suggestive of wanderings away from cities and highways to places where the many powerful and overwhelming sounds seem to have been stilled te allew the tiny and the distant to be heard. Sele. But the pumtmmiuating concern of this investigation,— At eheketiaEme, 1s the use composers have made of “total” silence,-the complete absence of tone or percussive sound, even if only momentary. The qualifier "total" will now be dropped. To have silence there mst be a cessation of sound at anidentical point, whether the sound from all those participating has moved as a block to this point, or whether the sound from some of the performers has been withdrawn ahead of time. How leng the hiatus between the cessation and resumption of sound must be to cause @ conscious perception of the condition as a silence is a problem for the psychologist. Sufficient for us is the fact that it is not at all unusual to find that a composer has indicated, by rests of small duratien right down the score, @ slight silence for all performers, perhaps with an intent for simultaneous phrasing. This brevity seems quite analogous te the use of punctuation in the written language. Or, when the tempo is rapid, the restalee]Anateares may even be compared to the slight stoppages of,consorants in a flow of vovel sound in speech, Such separations #4 be regarded as minimal and to- wards the sero side in “mee sealing of durations of Minimal silences can be indicated in the score by rests, phrase marks, staccato dots, the breath mark ('), the eut-off (//), and the fermata over a bar(uhen this combination does not specifically indicate a tins) and can be realised in performance by the observance of these symbols as they may be supplied by the composers, the editor, or by the perforners themselves as they sense an essential phrasing not shown al- ready. Of all these symbols only the rest approaches precise measurement. It ia the one we can be mst sure is provided by silence.the composer, showing his intent. For this reason this study WEEE based “Eiieee exclusively on Mj rest-represented silences. Hereafter, the word "reat" will be used both for the symbol and for the absence of seund it represents and will be interchangeable with the word "silence." — Perhaps the most common res f the briefer variety are those which in a moderate to quick tempo appear to be substitu- tions for the dots in detted rhythm, those which are used to obtain staccato effect, and these which one way or another shew precise inner phrasing within the phrase. In these instances the composer seous to be making sure of what he wants by the use of a fairly accurate netation so as not to depend entirely upon the intuition of the performer. The performer, in turn, is under contract to test, certainly in first trials, the walidity of the value of the rest and to assume that the composer wants, as a minimm, the amount of the rest he hes indicated te be shaved off from the duration of the previous sound. The bracketed measures in Examples 1 to 5 shew this procedure.ce mere ete Sonate, Hes 2 18S Maton OP 13, pe 15). pas 10 measures to endEx. 3. Beethoven, z o Sed wovect SESS Seen eEEce Be tertone (CE Serte YI, Noe 47, De 0). ed —— Exe 4. Srahns , Sencerte An A Miner, Op. 102, for Vielia, Celle Ist movt.s Allegro (CE Vele 5, ps 77). ‘Calle — p dolce = Ree Se pert Semmpene Nos 08 one Halas 10, pe 22). vg lege a See | Sse Beas He rain “I rl aIn contrast to the rests of very short duration,shown immedi- ately above, are those at the opposite end of our imaginary scale of silence durations-capich long silences as those referred to in the preface. ; The example from the Finale of Haydo's "Joke" Quartet, Opus 33, Nunber 2 (Ex, 6) really seems long, expecially vhen those four empty measures are corroborated with the score at hand. There are nimbeats of rest in the siknce before the last phrase, altogether amount- ng vo sonevbat over four seconds, according to a fi mitis: ho loge @ performance of the Schneider String Quartet in the Haydn Seciety recording.! me 6 Fi SNE Rs Ore 5 a, Ades (ee) ; Ge gek \ eeu Anaydn Society reserding, #SQ-19,As is commonly known, the initials, G, P., shown in this Haydn example (Ex. 6), stand for the German term, Generalpause (and its English cognate of exactly the same spelling), They constitute an effident warning, especially when entered gn the players’ parts, assuring each performer that the pause, or rest, is general, and that a mistake has not been made just because no one is playing at the moment, The Italian equivalent of G, P, is yuota, and the French, silence.wexIn projecting a series of gradations of silence durations from zero to whatever, durations measured in numbers of seconds might be helpful. To the musician, how~ ever, the number of beats occupied by the rest, measured against the tempo, has more meaning, The “Self-Assertive™ Silence Somewhere along this scale, and varying according to circumstances, a rest becomes self-assertive, seeming to draw attention to itself, The listener is made consciously avare of the silence in contrast to the surrounding sounds, Naturally there xiitmiw borderline cases in which some silences Siciube. perceived as “sclf-assertive” ee ne listener and not WF an- other, or perhaps in the reading of one group of performers and net of another, But there are enough cases where the duration and/or circumstances surrounding the silence are of such 4 quality as to leave no doubt either as to the composer's intent or as to the effect produced. They are perceived by all as being "self-assertive.” Some of the factors conditioning the perception of a silence as being "self-assertive™ seem to be tempo, the number of boats of rest, note values preceding the rest, pitch rangeof outer voices, instrumentation, dynamic level, and the posi- tien of the rest in relation to accented and unaccented beats, or portions of beats. The effect of tempo, for example, can be illustrated in the follewing rhythaic pattern when used hypothetically as a phrase in a Sgherso (, = 160) and then in an Adagio (? = 60). (Rhythm oniy] U) Fetg104 In the Scberag,the eighth-nete - eighth-rest combination on the first two beats of measures 1, 2, and 4, and on the first beat of measure 3 are sensed as staccato quarters. The quarter- note - eighth-rest - eighth-nete combination covering the second and third beats in measure 3 is @ common staccato variant of & dotted-quarter - eighth-note rhythm, But in the Adagio version, with the much slower tempo and the actual change of the beat- note from quarter to eighth, the eighth and quarter-rests at the end of measures 1, 2, and 4 add up to three-beat "pause: while the eighth-rest between the two eighth-notes (measures 1, 2, and 4) now provide deliberate, measured spacing between full beat notes. Example 7 shows the effect of the relation of the rest te accented beat. In 7a, which opens the last movement of Haydn's Quartet, Opus 76, Number 6, the first violin plays a @ oO (~10 pattern of five descending scale ieee several times, each pattern separated by an eighth-rest which is filled in with an interruptive chord supplied by the other instruments. Later, the descending pattern is used in both upper and lower instru- ments, but overlapping, stretto fashion (7b). The bulk of the movement consists in transpositions of this predominant motive used in the manner just described. Every half-beat of the meas- ure ie filled. So, when the first half of the second beat is vacated (7c) the resulting silence really asserts itself in spite of having only a half-beat duration at a fast tempo. Exe Ta. Ha} ereier Op. 76, No. in E flat. as tA gro ii! wulenburg min. score, Ex, Tbe Ibide, pe 16.u Ex, 7¢e bide, De 17- we 7 This whole question as to what factors condition the perception of a silence as being “self-assertive" is given further discussion and illustration below under the heading, Second Classification, . is a 7 Je Classifications The following classifications wore uade . after the investigation of inmmerable silence situations in an inspection of a multitude ef compositions of the three periods to vhich this study is limited, They are presented as one means of coping with an unwieldy amount of material. They are not intended to shew rigid compartmentalising and are de- fended by the peatznt writer only in so far as they facilitate discussion. In addition to the recognition of a silence by its duration, it 4s proposed that a satisfactory classification may be based upon (1) the peint at which it ocourss (2) the nature of the passage in which it 4s included; and (3) the12 effect, subjective or otherwise, it produces. The first two ask, "Where is it?” and "What is it like?" The third asks, “What effect does it create for the listener?" Firat Classification “Where ia it?" suggests position within the form. Se, for example, with classic sonata-férm in which sectional and divisional demarcation is evident, silence can be shown as com- ing before Theme II or Closing Theme (or "groups" if this is preferred terminology) in the Exposition and/or Recapitulation, or before or within transitions te these themes, It can mark a divisional break between Exposition and Development, or be- ‘tween Development and Recapitulation, or between Recapitulation and Coda. These are silences which appear at the "joints" in the form, In @ way, they are themselves the joints or articu- ators. A great many silences seem to have no other purpose. Other likely places to find sectional or divisional separating silences are between the parts in the part-forms, before the return to the principal theme in the rondos, and detween contrasting sections in the free forms. Silences also serve as phrase separators within parts or sectious. Coming down to smaller dimensions, they can serve as separators of motives vithin the phrase - in which case the separating silenog it«//, is apt to become motivic, : Examples 8 to 20 illustrate elements of this first classification,1s Me Gr etinovest EoetonterPinaes (Gi Saris 18, Nos 7, ps 28), a Separation of large divisions, A qee-menuare silence between Epesition i Bevelopment, The first two meqsures after the double bar te sransisional, ek the real devel starting che 4fth measure after the le bar. Geet: however, i eee the development as fenetine right at the e dp, de . meeeoe testes 8, ede, Analytic Symphony Series No. 26 (Bostontu Fee eae eee OF Sha ANE: 5, p. 20), Similar to Example 8. lo. 2 33, Now ae ie deg, albabarg ot ma. ‘Score, pe 6)e : Corkonutd 2?1s cabinet I Separation of large divisions of ferm, Silence betveen develep- ment and roca ed ‘This example al: tal dlense between two en of the retransition, Cait ft Ex. 11. geetheven, Op. omy ist cB ¢ iages Sepase tas eyes oes es ie 38) Baa 1, p. fp Sectiong) paration within larger division, Three beats of silence’ before transition to second themes Sinflarly in the recapitulation. # Moweren nat Te Lovey becenan of tape tompleyng “ene~to-the- baw”16 ae Finals kip er ass fol SSHBE nana 2), —— q — gg — efr Cl cfr ely er Sectional separation within larger division. Two beats (one beat te the measure) of silence before second theme, Similarly in ‘Recapitulation, he 28s Tet noveet Egeeemutaneiveas (BaMeeE: 2: 3"5, 20), Separation at Coda.Ww Major mee est ay + rae wer shows former exactly how he wants him to senze' er she bitin etes y long 8= ™ 15. sey'ay fing Senet Hy fat me ee Rondo form, Silences in transition and just before return to “a” chene,lg wes 16, Lent, tc Pe NE. 13). ingende Tempo T* Andante mad 2 Sectional separation in free forms jo Shy NOe 2e shnianidass ain, score, p. 13). Rx. 17, Haydn, Ast mo ~~ — ——S cane + r ¢ Continual PFa ee (eee ee & B= = Phrase separation, Similar rest ending second phrase. Be Mis Grd movie idagie ttt vols 2p. 20), Phrase separation, Phrase 2 is transposition of phrase 1.Rx, 19, Wagner, 7; Tntrodcctiee te tee Pt essam und schmacheend (0. Schirmer vocal score, p. 1). a sf vif a Phrase separation,Bas 200 eptorect abcess CR: SMSD laa ome tat Allegre23 y Rite ts doe beltate. The. vests separating the terse motives.tend to become motivic, «/s- Second Classification A silence of itself is of ne particular interest. Only ae it is related to what goes before and what comes after dees it have significance. So we must ask, "What is the nature of the passage in which the silence is included?” Observation of such items as intensity, instrumentation, range, note values, aud harmony, before and after the silence, seens pertinent. The fellowing scheme shows a frequent situation: Before Silence Afser Silence Intensity forte (fertiesimo) piano (piantssine) Instrumentation full reduced Range wide narrowed Note values quick moderate or slew Other situations may be represented by shifting items of column 2 to column 3 and vice-versa. In still ether situations theremay be a repetition in entirety of either column 2 or 3 after the silence. In conjunction with these possibilities, the harwonic progression of the last chord before the silence to the first chord after may be ordinary, or unusual, and the new chord may be within the same key, or initiate @ new key. In addition, the passage after the silence may contain the same or different, thematic materials as that before. Examples 21 to 29 are only a few of the many 8 ee ee he Sermnovess Hedarate (te Pert eHiBe son" 9s 6 210), _ CS . Conthinc®K, —>25 ber (See. previver page) Before tire full measure of rest! fortissino, wide ee After rest: piano, arrowed range. Same note values before and after rest. ‘Ban fet gre aarats tl Bas WU, Vols 2, pe 101). Exe 22. Forte to piano. Quick notes to slewer.26 Ex, 23, Berlis - eee (ee ee ee aay meas. from onde " Quek notes to slow, fortissime to menso-forte, radically reduced instrumentation. 7S feet Emabse todd isate (Ch REtiefs tos 4, Po S)e aes r re | Alle vimece + soe Same range, intensity, and instrumentation values on both sides .—at of the silence full instrumentation, fortissimo, wide range. Ex, 25. Schubert, Guareet Ist movtet ee (cB Serie Set No. 7, Pe 95; Pdanissimo before and after silence. + 26. oho mea a awcclgatteynte nivitents Ch Ro (Tempo di Masruka (Oxford je» Be 44)e =a ee = # = Lew a C20 tine any) = Cott meekTempo I CTehepe di Polacea) Quick notes to slow. Bx. 27. Hay 20, Ne intint See Hits 28 con’ epirizs (autenburg min, score, Pe (e) Piano to forte.Ex, 28, Mosart, . . + Hoare ee 33. a Hes 42. inf Maer: @ 8, Vol. 3, pp 234-8 =a a S55 ee Pianissime to forte, Instrumentation: strings to full orchestra, Later, full to finet vislinvssle re Eatate’ sees euih strings after” silence.Ex. 29, Haydn, movtes 3° (Ealenbarg’ min. score, ps 10). Rew after ailence. Old k F miner, ending on =e New ey, "Drie Major, starting with gubdonigane shores Third Classification The location of the silence and the tonal circumstances which have just been dissussed-as being apt to surround it un- doubtedly have a bearing upon the third classification, that of effect. While the first two classifications deal with physical facts which can be described in terns 9 ane . sft ao SENERET at timbre, etc., in varying relationships, the fore subjective implications which usually mast rely om ‘extra- ‘ musical terms for their description. Symbols and associations which have common currency or even those which are more re- stricted because of their subtlety are available to the listener. ‘There is no real reason he should not use them in describing @ musical event if he is so inelined, provided they are acknowledged as being personal and provided that the relationship is kept on AG basis of comparing and not of equating. chasse catea Thus, a silence might cause surprise, at time humorous, at times ominous. A silence can be dramatic as at the forceful stepping of forceful sounds to be followed by sounds less tense, ar, on the contrary, as s release for even greater impact, It ean be dramatic when used as a separator of terse motives, It ean be dramatic as in concert misic which falls back upon an- Gestral experience in the epera house where the accompanying orchestra supplies interjectious for high declamation’ on the stage, or musically sets the stage. A silence can help 36 keep tension at a sinimm and establish a mood of calm, repose, deliberation. In, slow more- mente these moods are induced not only by the slow tempo of ‘the beat and by the suave lyriciem of the melodic line, but alse by the wide and usually symmetrical spacing of phrases, of motives vithin the phrase, or at tines by the spacing of single chords within the motive. The nature of the silencestheeselver.is that they seen to partake of the elements which surround them, particularly those of tension or lack of tension, Perhaps what happens is thist we have been conditioned threugh listening experience to expect any of s number of procedures after the silence, Hence during the silence we may be preparing our reactions to fit whatever follows, anticipating by virtue of past experiences any degree of tension from slight to extreme, Whatever happens after the silence, then, is reflected all the more readily2 ‘back inte the silence itusIf because of this anticipation. ‘These reactions on the part of the listener seem to be abetted in Live performance by watching the body tensions of performers, wonductors included, The examples shown (Examples 30 to 40) cannot of then- selves conjure the mood they are supposed to illustrate, They {and this can be said of all examples used throughout the present study) are merely references to the entire passage or even the entire movement in which they are contained, and are to be ob- served in such context, 1.00, as springing from the basic form 2 30, 5 Ne, 3, ] Sal advo Late Beat (Eelesturg min, acore, ys 10). Largo ass’ ten ten Rests help to establish moed ef deliberation.33 Hx, 31, Mayda, Op, 33, Now 2. ° gee EaEto Teecaaues (Bidenburs nin, score, pe 10). vy CEEPCEEFEEL |e hl, oly —. Ta Anuation or intensification of tensisa, Powbtfud wh cttee- Lon wn is munedlehceloged fee ye es ft tan fps Ex. 32, Haydn No. 4. ove Ekasic Urulenbure min, score, p. 14). Continuation or intensification of tension.Ex, 33, Brahma, ainor, Op. 34. Plneled SEGeSS Soe eaeE (oR nand 8, p. 63). Release for greater impact. It may be noted in this @: e,and in other cases where in- tensity has been kept at a ch’ pitch fer a considerable peried, that the rest is at a lift for sreacer impact, that even ter tel iy be ee poe by the use of the silence- even ments of tension -- big intensities, compelling reat : widen range, full instrumentation -- remain Constant.35 Ex, 34, Chopin, 26, No. 1, in Gf minor, Anibbes ERBRECS OP toxeérd kar’ Yolette pe Ls ee. Sp. 0" [er Cs —— = — ES, ES be ie va Meter accent has no effect. Five vigorous strokes of equal strength, The quarter-rest is a lift for greater impact on firet beat of third measure, Ex. 35, Beethoven, Allegro con brie fe 3, Noo 18, ps 1). 4 e : df i | | SF S_3 as i ct ey aa ra ip ( { aes ~—> CoahinardA3 meas, Dramatic, perhaps ominous. Bee ee renee’ (Saeed yee paar, ff Dramatic, perhaps ominous, Lrisenyhen’ © 3637 Bx, 37a, Haydn, Op, 80, No. 1. : Ger nave Hiice leuiénoerg iin, score, ps 15). —— @ End of exposition. Compare with Ex. 37b, Exe 37. bids, Pe 19. before end of movement. Probably humer- nding (see also Ex. 6), Compare with Ex. fx, 38. Ha: »» 50, No. 2, Noraetee tS: eBcon’seseize): Allegretto (Bulen- burg min. score, pe 16). y ¢7 Tt Humorous heeitations. od Ramee einting’ development)(CE morte? ai tEsetn velopment Berke Gy Band 3° p, 40. Operatic.x» Ex, 40, Tschaik 8 Noe 8 op. 74, seen Peay, Piokatvaidiatn: eeores’pe 223). ——— - —— % agen Andente £ "Pathetic" pauses. Some Specific Caterorios The following list of specific categories, certainly not exhaustive, is presented here to supplement the three general classifications just dis tempt to group the categories except to alphabetice. The musical examples (Exs. 41-66) should give sufficient clue as to the terminology used. seed. There has been no at~Ba, 41. Accented beat vacant, Braking, or f olga effect Bravura style Calando Detached final cadence phrase or chords Delayed resolution eee by separation of repeated ond element a Fe ending Oreater impact Hesitations Instrumental recitative Interruption Meter change Modulation Programmatic Strokes separation Symmetrical separation Syncopation Variant ieee fegre tick a5 oe 36). Accented beat vacated.a Bx, 42, Brahms, § 4 ae Aen mare Ri Larre cok SRUFIRE EEE band 1, ps 2135). a oe whole series of notes is apt to be made accented beat er accented portion of beat is Bx. 43. Weber ae # Der Freischits. Nolte ‘vi PeVe i, reese score, Pe 23). (calando effect! f Steer |42 4 ‘anacrusis effect, also calando effect. The following quotation from Riemann's Musik Lexikon seoms pertinent in describing the strong effect obtained vith the rest on the accented beat, although he is not necessarily speaking of a simultaneous rest in all voices: The aesthetic value of the reat varies according to its position in the bary it may be defined general- ly as negative equivalent of the tone value which it represents. 4 rest occurring in place of a note on the principal beat of a bar produces a deeper ef- fect than one in place of a note on an unaccented beat. A rest in the crescendo section of a so is more intense chan one in the diminuendo section. This is especially the case with rests vhich eliminate the beat Teount rests), whereas those vhich only abbreviate4s those which merely separate notes Ry a fori ying, are of only moderate effect. Bx. 44, ie le . ‘ aio * mand 2, p. 40). “Announcement chords or phrase. cE ezi aM iting, genes J+ 8 stetock (maaae PisteT Mage soe ‘con i at tae: @ ae 69). t Announcement chords er phrase, aie isonet BREET Se ott Ea He 55. 2 Noe 35 Pe We 4) Announcement chords, (not ered heres’ Exe 47. Strauss, Macbeth. Allegre ‘un poco maestose (W.P.V. min. score, pe 99)6 “tempo T (All? un poco meester) #45 1 Asymmetrical separation, Bx, 48, Brakes, ° s 3a MOVE.? eS 4a.2 alte Band 1, p. 157). / “Separation in augnentation.46 + 49, Rach, Organ Preh XVII, Ex. 49 ee cee] 7, Poetags in maior, Noe / Braking effect against a relentlesaly accumlated momentum, Hx. $0. Lisaey Si EA SE 2, pe 44)e —ar veo pin mode i 4|f, oF; nf, Bravura style, Bx, Sl, Lisst, Be. 3¢ Fantasie sur une valee de feamssitt EPPS auea 5, 929) a ; rds ang Aysilince . is gene” |e Galando effect. Also ne/é Siluce maieated by fowte cot fouble- bar:Tats Ss Chapin» Epelude dn § phos Ops yite Now 4s 7 (e) mora. Detached final cadence chords. Ex, $3. gees 3 er maya REESE, CEE Rae ive pe 54). Adagio + Detachod final cadence phrase. mM aes f ee saeckal pe 69). —. _ 4 grees) Cin eb miner)‘Delayed resolution, Rix. 55, Beethoven, 2nd movt.$ Sonata in £ flat, Op. 7. con ase (Ck Serie 16, No. 4, p. 65) Deliberation, seriousness, assuredness, etc. aaa careiioaatimeeidiates i Echo.Bx. 57, Strauss . ° Seb Ledhetes GAPE score, ys 7)» Extension of phrase by separation of repeated end-elementa,32 Ex. 58. Schubert, o Zing paler: 2nd movt. any Bee moto (Ch Serie 1,.Xo. 2, pe 170). Ferese #2 # ¢ Climactic. Greater impact (see Ex. 34). Hesitations (see Bx. 38). Bae Se em arecs RRCERS Bbdekate oBABELe 1, mo. 0, . 240). -_—__—_—_—~ ee (0) 2. id “4 I Ti Mae &a / Interruption. ("Broken meledy*) . Bx. 60, Ha; 17, No. 5. ° se Eee tndlenbarg min, score, p. 10). a Instrumental recitative.33 Bx. 61. fSrahms, - 3 . a a movtel gue te Reeass 9) Pe 183). a P f F Meter change effects: the rests strengthen the hemiola grouping, pro’ which des a notated ritard in augmentation, Modulation (see 2.2}. and, ae Programmatic (see chapter on Berlios, and other references in chapters ‘on other composers). 62, . ° . aie Tie neveet ‘egro A wa eeBE. 1, Now 3, po 9)o contStrokes separation. Exe 63. Beothovens in 9 maior - = Es io = ibd to @ vivace (CE Serie 1, eo 1, Pe 3: Adagio Bnav All molds, « vince, Symmetrical se; tion, Scale segments delgcad So separated as to start at identical points in the meas Long55 Ex. 64. Brahma, ° saler: Ath movt.t ar: 4 ane Band 1, p. 143). 3 —<— || Syncopation. Ex, 65. Beetheve: Op. 10, Now 3s ered Faaas Sapte de maser, Pee hes 198, pe a ot |F Compare with the followingsIbid., p. 119. _—— 1s Variant. There are two proveduress 1) the wik=ve filled motive (as shown in, in currences in‘rx. oe "ay the rest stands for the. oniseion of some element used earlier (as shown in Ex. 66, below). Bae Ge Ras eRe Ae RE OP ath, toons, pe 16). (ms) Comparison of measures6-11 of exposition with measures 6-11 of recapitulation,87 Summary It has been the purpose of this chapter to emphasize the use of silence as being one of many compositional tools available to the composer and to point ovt, with the aid of illustrative examples taken from a period spanning close to three hundred years, the unique power this device has of com- manding attention, of aiding in the shaping of forms, of giving impetus and direction to musical ideas, Classifications and categories have been offered based not only upon the duration of the silence, but also upon its position withia the forms, the tonal elements surrounding it, and the effect it produces, It is not with the ideasof fussy pigeon-holing that these classifications are to be used, They are to be con- sidered, rather, as guides for discussion of trends with individual composers, or groups of composers, whose works are to be investigated more closely in the following chapters. wareCHAPTER IT TRENDS OF THE SEVENTEENTH CENTURY The present chapter, deveted to a period of about a century, roughly from 1600 to 1700, opens a series of analyses te determine trends with individual composers, or with groups of composers. Three important composers whose work falls within the seventeenth century are treated separately in Chapter IXIg these are Corelli, Muffat, and Purcell, Characteristic of this peried is the rarity of the use of silences of any duration, short or long; that is, as far as is revealed by the notation, The prévatling role seems to be "no stopping” from the time a piece has begun until the end has been reached, There are exceptions, but the fact that mest of them can be accounted for individually in the following in- ventory, based upon collections representing approximately eighty composers, attests to the rarity of their use. The ex- ceptions will be soted to be predominantly in the works of three particular composers: M. Franck, Rosenmiiller, and Buxte- bude. vs The material under investigation #E2%=88 grouped under two headings, Ensemble and Keyboard, vhich, in turn, #220) subdivided into the nationalities, Italian, German, and French.Italian Ensenble ‘The following three basic sources vere used: Tasks EL SE Aree EES Tee ot stra: ae in San Marce. Sesiobe strumentali ¢ "Per Cantar e Sonar” sino al 1590, Tomo II, Cansoni e@ sonate a pid strumenti di Ciovanni Gebeiols contenute nelle "Sacrae Symphoniae” Jatel Toroht, Liapte muuteadg fp Lean, ol. VII) Musica » Wilh, Wasielewski. Jone MOS Bun Eniag aeg'XORE baeeeantaees = Eadew daa Volume I of the first source neted above contains ten ricoroare and one aria della battaglia by Andrea oabrigni@!* (9+! several vorke marked per sonar (but provided with text) by Ofevannt Oabrieli, and one aria della battaclia by Padevane. ‘There are but two instances of silences in the twelve composi- tions without text and both are in the two “battle” arias, The oue in the A, Gabrieli composition consists of the following rhyehar ¢d IJ TTlodm(o d ITH (ps 134). The music for the twelve measures up to the rest and for three measures after consists entirely of changes on the F major chord in root position. Volume II contains instrumental works without texte, all by Giovanni Cabrieli. There are fourteen designated as canuonas and two as sonatas. There are only three rests) in lhe regder will be reminded from time to tine that for conven- fence the vords "silence" and "rest" are used synonymously, and