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double-tonic

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Journal Articles
19th-Century Music. 2013; 3713–36 doi: https://doi.org/10.1525/ncm.2013.37.1.3
Published: 01 July 2013
... modality—real and imagined—into a personalized form in his work. A striking example is the “double tonic” effect associated with many Scottish modal melodies: the rapid alternation between outlined triads a whole step apart. Though this tool could potentially create the type of exoticism the composer tried...
Journal Articles
19th-Century Music. 2013; 3713–36 doi: https://doi.org/10.1525/ncm.2013.37.3.3
Published: 01 July 2013
... modality—real and imagined—into a personalized form in his work. A striking example is the “double tonic” effect associated with many Scottish modal melodies: the rapid alternation between outlined triads a whole step apart. Though this tool could potentially create the type of exoticism the composer tried...
Journal Articles
19th-Century Music. 2020; 433170–193 doi: https://doi.org/10.1525/ncm.2020.43.3.170
Published: 01 March 2020
... The concept originates with Robert Bailey, who in 1985 developed it in close association with his ideas about the double-tonic complex and directional tonality in the music of Wagner, Brahms, and Mahler.36 Over time, Bailey s three concepts have been refined and distinguished one from another, and...
Journal Articles
19th-Century Music. 2019; 43299–120 doi: https://doi.org/10.1525/ncm.2019.43.2.99
Published: 01 November 2019
... resulted in a presen- tation of the diatonic scale according to its ratios of vibrations, between scale degrees and the tonic (C), adjacent pitches, and the monochord s physical proportions. As plate 1 shows, Hay s dia- gram sought to translate the staff notation of a scale into stacked, leaning columns of...
Journal Articles
19th-Century Music. 2019; 43267–85 doi: https://doi.org/10.1525/ncm.2019.43.2.67
Published: 01 November 2019
... byplay of the expo- sition, but now in the tonic major. The move- ment ends on this inconclusive note after having briefly opened the possibility of some deeper rapport between the solitary obsessive and his orchestral milieu. Throughout, we can read this thematic byplay in terms of widely used...
Journal Articles
19th-Century Music. 2019; 432121–139 doi: https://doi.org/10.1525/ncm.2019.43.2.121
Published: 01 November 2019
... some extent due to the lack of such an institutional backing in the German coun- tries. So, as opposed to Baillot, Spohr insisted: Before the student may be handed the violin, he must first learn to read the notes. 18 This, however, could be achieved stepwise, the dia- tonic scale from g to b being...
Journal Articles
19th-Century Music. 2019; 423184–224 doi: https://doi.org/10.1525/ncm.2019.42.3.184
Published: 01 April 2019
Journal Articles
19th-Century Music. 2018; 4213–29 doi: https://doi.org/10.1525/ncm.2018.42.1.3
Published: 01 July 2018
... scrupulously adheres to the letter of the score, which contributes to the prevailing affect of restrained melancholy. Toward the end, however, the notes boxed in plate 1 are conspicuously brought out by Ruben- stein s right thumb as an octave-displaced echo of the stepwise descent from dominant to tonic...
Journal Articles
19th-Century Music. 2018; 413225–251 doi: https://doi.org/10.1525/ncm.2018.41.3.225
Published: 01 March 2018
Journal Articles
19th-Century Music. 2017; 41295–120 doi: https://doi.org/10.1525/ncm.2017.41.2.95
Published: 01 November 2017
... melodies, augmented and/or diminished leaps, monotone lines, de- scending tetrachord bass lines, sigh motifs, rising and fall- ing scales, syncopation, majestic or ponderous dotted rhythms, sudden contrasts, octave doubling, crescendo ef- fects, unexpected silences, unusual instrumentation, low tessitura...
Journal Articles
19th-Century Music. 2017; 41148–74 doi: https://doi.org/10.1525/ncm.2017.41.1.48
Published: 01 July 2017
... (1875 76).23 The latter quotation is in a different key and devi- ates slightly from the original, suggesting Chausson was reconstructing his teacher s com- position from memory (ex. 3a). In Les Éolides, Franck moves away from the initial A-major tonic triad in contrary chromatic motion from the fifth...
Journal Articles
19th-Century Music. 2017; 403189–200 doi: https://doi.org/10.1525/ncm.2017.40.3.189
Published: 01 March 2017
... V7/IV in other words on a tonic harmony altered through the addition of the lowered sev- enth scale degree to direct the music toward subdominant regions, a move often used to sig- nal the imminent end of a piece. (Adding the flat-seventh is how tonal composers often tap the brakes in a coda.) Zelter...
Journal Articles
19th-Century Music. 2017; 403301–305 doi: https://doi.org/10.1525/ncm.2017.40.3.301
Published: 01 March 2017
... simple, ends with multiple repetitions of du auch [you, too] or, in his wife s translation, will rest over tonic E-major harmony. Ives tries to make elsewhere here, but the repetitions themselves displace what they seek to secure. In addition, the dual- language alternative is revealing because, al...
Journal Articles
19th-Century Music. 2017; 403201–222 doi: https://doi.org/10.1525/ncm.2017.40.3.201
Published: 01 March 2017
... iv V cadential pattern, which in turn oscillates between tonic and dominant; the alternating stanzas trace sequen- tially descending Phrygian progressions slip- ping away to the illusory regions of the sub- dominant minor and relative major. Only in the very last measures does the music break free of...
Journal Articles
19th-Century Music. 2017; 403283–300 doi: https://doi.org/10.1525/ncm.2017.40.3.283
Published: 01 March 2017
... picks up on Heine s accumulating adjec- tives. The first move away from the tonic of C minor to the relative major occurs at Die blümenden Mädchen, and the first break from declamatory vocal writing to melisma at die wilde Schar (see ex. 2). Harmonically, Frühlingsfeier is not as free- roaming as...
Journal Articles
19th-Century Music. 2016; 402106–130 doi: https://doi.org/10.1525/ncm.2016.40.2.106
Published: 01 November 2016
...- emplary in their normative harmonic stability (ex. 1). But at the counterstatement starting in m. 9, the local tonicization of the mediant ma- jor (initially approached as an applied domi- nant to the relative minor) suggests a less con- ventional pattern of tonal movement, and the chord in the second...
Journal Articles
19th-Century Music. 2016; 402131–158 doi: https://doi.org/10.1525/ncm.2016.40.2.131
Published: 01 November 2016
... drums, trumpets, and so on. This is the first of two interruptions. The intrusion of the raised sixth scale degree (B ) under the tonic chord in D major alters the course of the lullaby. The German sixth can be read a posteriori as a flat VI in F major. See Example 2. Clara hears the quiet rustle...
Journal Articles
19th-Century Music. 2016; 393187–222 doi: https://doi.org/10.1525/ncm.2016.39.3.187
Published: 01 March 2016
... fifth, spread across the two-and-a-half-octave gap separating the double bass (B1) and second violins (f 1), creates a sonic space, a type of virtual visual field immedi- ately filled in by the descending figure in quicker note values (motive a) played in bassoon, vio- las, and cellos. We hear (and...
Journal Articles
19th-Century Music. 2016; 393248–271 doi: https://doi.org/10.1525/ncm.2016.39.3.248
Published: 01 March 2016
..., Introduction, 1. 22See Didier Francfort, National Identity and the Double Border in Lorraine, trans. Christopher Moore in French Music, Culture, and National Identity, 1870 1939, 234 49, for a discussion of how composers in a border region dealt with such boundaries and limits. See also Rosenberg...
Journal Articles
19th-Century Music. 2015; 3913–34 doi: https://doi.org/10.1525/ncm.2015.39.1.3
Published: 01 July 2015
... materialist logic, that is, the ideology of the West since the fall of the Berlin Wall, our sexual universe has in this way dispensed with its tonic key (the musical metaphor is his), leading to a deep desire for atony : To deconstruct sexual difference as a binary opposition, to re- place it with a...