Complex upper-voice cadential figures in traditional tonal music

dc.creatorNeumeyer, Daviden
dc.date.accessioned2015-04-15T18:32:17Zen
dc.date.available2015-04-15T18:32:17Zen
dc.date.issued2014-03-14en
dc.description.abstractHarmony and voice-leading are integrated in the hierarchical networks of Schenkerian analyses: the top (most abstract) level of the hierarchy is a fundamental structure that combines a single upper voice and a bass voice in counterpoint. A pattern that occurs with increasing frequency beginning in the later eighteenth century tends to confer equal status on two upper voices, one from ^5, the other from ^3. Analysis using such three-part voice leading in the background often provides richer, more complete, and more musically convincing analyses.en
dc.description.departmentMusicen
dc.identifier.urihttp://hdl.handle.net/2152/29266en
dc.language.isoengen
dc.rightsAttribution-NonCommercial-NoDerivs 3.0 United Statesen
dc.rights.urihttp://creativecommons.org/licenses/by-nc-nd/3.0/us/en
dc.subjectmusic theoryen
dc.subjectmusic analysisen
dc.subjectwaltzen
dc.subjectJohann Straussen
dc.subjectpolkaen
dc.subjectFranz Schuberten
dc.titleComplex upper-voice cadential figures in traditional tonal musicen
dc.typeArticleen

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