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ABSTRACT For madrigal composers making every effort to follow the words, the transition from one phrase to the next presented a stumbling block. Transitions in sixteenth‐century polyphony typically feature a cadence in the exiting phrase and a new point of imitation in the approaching phrase....
ABSTRACT The seemingly tonal harmonic markers in Monteverdi's music, identified by many previous analytical investigations, appear side by side with tonally unconventional progressions in Monteverdi's oeuvre, particularly the sacred polyphony composed for San Marco. These unique ‘harmonic...
ABSTRACT The ambiguity over the number and structure of movements in Sibelius's Fifth Symphony provoked vigorous and far‐reaching discussion in British analytical writings from the 1930s onwards. But do even simple analytical decisions such as these have any impact upon those performing or...
ABSTRACT When conceived as the presence of the past, memory can be said to pervade the music of Maurice Ravel. The number and range of these acts of musical memory – including pieces modelled on the medieval ballade, the Renaissance chanson, the Baroque tombeau, the Classical sonatine and the...
ABSTRACT An account of the slow movement of Tippett's Concerto for Orchestra can be productively interwoven with a discussion about musical meaning. This provides a focus for the question of whether musical meaning should be regarded as primarily intrinsic or as located within what is...
ABSTRACT This article investigates the status and function of timbre by proposing a poetic‐ecological model, which seeks to encapsulate the intersections between and applications of three theoretical territories: poetics, ecological theory and spectromorphology. The patterned sonic material...
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