Cadence: a study of closure in tonal music
"Chapter 1 first surveys general concepts of closure in everyday life, gestalt psychology, and literature, and then turns to how some recent theorists conceptualize closure in music. Some principles of perception and cognition (e.g., "laws" of proximity, similarity, and continuity) ar...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
New York, NY
Oxford University Press
2024
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| Schlagworte: | |
| Zusammenfassung: | "Chapter 1 first surveys general concepts of closure in everyday life, gestalt psychology, and literature, and then turns to how some recent theorists conceptualize closure in music. Some principles of perception and cognition (e.g., "laws" of proximity, similarity, and continuity) are applicable to musical closure, as well as the general distinction between stopping and ending. Closure is further characterized by many writers as either a temporal or atemporal (or spatial) phenomenon, the former being most applicable to the sense of ending in music. Especially important are two concepts suggested by Barbara Herrnstein Smith for poetic closure: the use of "terminal modification" following a series of repetitions and the idea of formal circularity, created by bringing back opening lines to conclude a poem. The chapter shows how all of these ideas resonate in discussions on closure by music theorists. Some of their formulations are relatively abstract, while others are more pertinent to the topic of cadential closure specifically. Leonard Meyer discusses how closure is created foremost by syntactical parameters (harmony, melody, meter); Kofi Agawu differentiates between closure (a global phenomenon) and ending (a more local one): Robert Hatten proposes a notion of "dramatic" closure, while Patrick McCreless relates musical closure to a more general sense of narrative closure. Finally, Mark Anson-Cartwright offers three definitions of musical closure all of which characterize it as expressing ending and finality"-- |
| Beschreibung: | Includes bibliographical references and index |
| Beschreibung: | xxi, 623 Seiten Notenbeispiele |
| ISBN: | 9780197782163 9780190056445 |
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| 100 | 1 | |a Caplin, William Earl |d 1948- |e Verfasser |0 (DE-588)121753484 |4 aut | |
| 245 | 1 | 0 | |a Cadence |b a study of closure in tonal music |c William E. Caplin |
| 264 | 1 | |a New York, NY |b Oxford University Press |c 2024 | |
| 300 | |a xxi, 623 Seiten |b Notenbeispiele | ||
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| 500 | |a Includes bibliographical references and index | ||
| 505 | 8 | |a Ideas Of Closure -- Part 1. The Classical Cadence. General Concepts of the Classical Cadence ; Basic Cadence Types. Morphology and Function ; Cadential Deviations ; Cadential Expansion -- Part 2. Cadence in Other Tonal Styles. Cadence in the High Baroque ; Cadence in the Galant Era ; Cadence in the Romantic Era ; Cadence in the Mid to Late Nineteenth Century. | |
| 520 | |a "Chapter 1 first surveys general concepts of closure in everyday life, gestalt psychology, and literature, and then turns to how some recent theorists conceptualize closure in music. Some principles of perception and cognition (e.g., "laws" of proximity, similarity, and continuity) are applicable to musical closure, as well as the general distinction between stopping and ending. Closure is further characterized by many writers as either a temporal or atemporal (or spatial) phenomenon, the former being most applicable to the sense of ending in music. Especially important are two concepts suggested by Barbara Herrnstein Smith for poetic closure: the use of "terminal modification" following a series of repetitions and the idea of formal circularity, created by bringing back opening lines to conclude a poem. The chapter shows how all of these ideas resonate in discussions on closure by music theorists. Some of their formulations are relatively abstract, while others are more pertinent to the topic of cadential closure specifically. Leonard Meyer discusses how closure is created foremost by syntactical parameters (harmony, melody, meter); Kofi Agawu differentiates between closure (a global phenomenon) and ending (a more local one): Robert Hatten proposes a notion of "dramatic" closure, while Patrick McCreless relates musical closure to a more general sense of narrative closure. Finally, Mark Anson-Cartwright offers three definitions of musical closure all of which characterize it as expressing ending and finality"-- | ||
| 650 | 7 | |a Cadences (Music) |x History and criticism |2 DLC | |
| 650 | 7 | |a Closure (Music) |2 DLC | |
| 776 | 0 | |c epub |z 9780190056469 | |
| 776 | 0 | 8 | |i Erscheint auch als |n Online-Ausgabe |a Caplin, William Earl, 1948- |t Cadence |d New York : Oxford University Press, 2024 |z 9780190056469 |
| 943 | 1 | |a oai:aleph.bib-bvb.de:BVB01-035268061 | |
Datensatz im Suchindex
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| author | Caplin, William Earl 1948- |
| author_GND | (DE-588)121753484 |
| author_facet | Caplin, William Earl 1948- |
| author_role | aut |
| author_sort | Caplin, William Earl 1948- |
| author_variant | w e c we wec |
| building | Verbundindex |
| bvnumber | BV049929675 |
| classification_rvk | LR 53710 |
| contents | Ideas Of Closure -- Part 1. The Classical Cadence. General Concepts of the Classical Cadence ; Basic Cadence Types. Morphology and Function ; Cadential Deviations ; Cadential Expansion -- Part 2. Cadence in Other Tonal Styles. Cadence in the High Baroque ; Cadence in the Galant Era ; Cadence in the Romantic Era ; Cadence in the Mid to Late Nineteenth Century. |
| ctrlnum | (DE-599)KXP1876477598 |
| dewey-raw | a781.2/54c23/eng/20231212 |
| dewey-search | a781.2/54c23/eng/20231212 |
| discipline | Musikwissenschaft |
| format | Book |
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| id | DE-604.BV049929675 |
| illustrated | Illustrated |
| indexdate | 2025-03-05T15:02:19Z |
| institution | BVB |
| isbn | 9780197782163 9780190056445 |
| language | English |
| lccn | 2023057108 |
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| physical | xxi, 623 Seiten Notenbeispiele |
| publishDate | 2024 |
| publishDateSearch | 2024 |
| publishDateSort | 2024 |
| publisher | Oxford University Press |
| record_format | marc |
| spelling | Caplin, William Earl 1948- Verfasser (DE-588)121753484 aut Cadence a study of closure in tonal music William E. Caplin New York, NY Oxford University Press 2024 xxi, 623 Seiten Notenbeispiele txt rdacontent n rdamedia nc rdacarrier Includes bibliographical references and index Ideas Of Closure -- Part 1. The Classical Cadence. General Concepts of the Classical Cadence ; Basic Cadence Types. Morphology and Function ; Cadential Deviations ; Cadential Expansion -- Part 2. Cadence in Other Tonal Styles. Cadence in the High Baroque ; Cadence in the Galant Era ; Cadence in the Romantic Era ; Cadence in the Mid to Late Nineteenth Century. "Chapter 1 first surveys general concepts of closure in everyday life, gestalt psychology, and literature, and then turns to how some recent theorists conceptualize closure in music. Some principles of perception and cognition (e.g., "laws" of proximity, similarity, and continuity) are applicable to musical closure, as well as the general distinction between stopping and ending. Closure is further characterized by many writers as either a temporal or atemporal (or spatial) phenomenon, the former being most applicable to the sense of ending in music. Especially important are two concepts suggested by Barbara Herrnstein Smith for poetic closure: the use of "terminal modification" following a series of repetitions and the idea of formal circularity, created by bringing back opening lines to conclude a poem. The chapter shows how all of these ideas resonate in discussions on closure by music theorists. Some of their formulations are relatively abstract, while others are more pertinent to the topic of cadential closure specifically. Leonard Meyer discusses how closure is created foremost by syntactical parameters (harmony, melody, meter); Kofi Agawu differentiates between closure (a global phenomenon) and ending (a more local one): Robert Hatten proposes a notion of "dramatic" closure, while Patrick McCreless relates musical closure to a more general sense of narrative closure. Finally, Mark Anson-Cartwright offers three definitions of musical closure all of which characterize it as expressing ending and finality"-- Cadences (Music) History and criticism DLC Closure (Music) DLC epub 9780190056469 Erscheint auch als Online-Ausgabe Caplin, William Earl, 1948- Cadence New York : Oxford University Press, 2024 9780190056469 |
| spellingShingle | Caplin, William Earl 1948- Cadence a study of closure in tonal music Ideas Of Closure -- Part 1. The Classical Cadence. General Concepts of the Classical Cadence ; Basic Cadence Types. Morphology and Function ; Cadential Deviations ; Cadential Expansion -- Part 2. Cadence in Other Tonal Styles. Cadence in the High Baroque ; Cadence in the Galant Era ; Cadence in the Romantic Era ; Cadence in the Mid to Late Nineteenth Century. Cadences (Music) History and criticism DLC Closure (Music) DLC |
| title | Cadence a study of closure in tonal music |
| title_auth | Cadence a study of closure in tonal music |
| title_exact_search | Cadence a study of closure in tonal music |
| title_full | Cadence a study of closure in tonal music William E. Caplin |
| title_fullStr | Cadence a study of closure in tonal music William E. Caplin |
| title_full_unstemmed | Cadence a study of closure in tonal music William E. Caplin |
| title_short | Cadence |
| title_sort | cadence a study of closure in tonal music |
| title_sub | a study of closure in tonal music |
| topic | Cadences (Music) History and criticism DLC Closure (Music) DLC |
| topic_facet | Cadences (Music) History and criticism Closure (Music) |
| work_keys_str_mv | AT caplinwilliamearl cadenceastudyofclosureintonalmusic |