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CADENCING AND VOICE LEADING
A Dissertation
Presented to
Brandeis University
Department of Music
In Partial Fulfillment
of the Requirements for the Degree
Doctor of Philosophy
by
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This dissertation, directed and approved by the candidate’s
Committee, has been accepted and approved by the Graduate
Faculty of Brandeis University in partial fulfillment of the
requirements for the degree of
DOCTOR OF PHILOSOPHY
/ . /ArQ~zJL
Deany Graduate School of/Arts
■'and Sciences W
Dissertation Committee.
Chairman
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TABLE OF CONTENTS
INTRODUCTION.......... 1
IV. CONCLUSION............... 44
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INTRODUCTION
the finale would end in the key region of the first movement,
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2
in his finale Bruckner not only ran out of time: he ran out
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3
about himself and his work plus his reactions to the advice
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4
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CADENTIAL POINTS WITH TRIADIC RESOLUTIONS
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There is an outward sweep linking D to E from the first
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7
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8
beginning in B minor:
O'
This very
very strong downbeat treatment of B minor distances
mino r distances
This
the music from E major if one considers the resultant
pure B flat minor with the fifth (F) in the bass line (the
classical 6 - 4 position) which gives one the feeling of
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9
h 0 1
0-
-
Note that the A leading tone (in the previous B flat minor
context) which was withheld from bar 32 here becomes
the root of bars 33 - 36. Again, the leading tone (now G#)
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10
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In addition to reaching A flat through a chromatic sequence
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A distillation of bars 41 - 45 shows both the
chromatic and harmonic levels on which the music rides.
to A flat. . .,
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12
material:
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6-4 suspensions:
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14
a tfove to
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15
Further reduced:
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the Adagio:
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The D# will not become a leading tone to E in bar 173 (ex. 16):
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16
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17
whole steps:
point. The bass line of bars 225 - 227 points this out:
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18
e+
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19
^ , . . — .
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We discovered through observing several of
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21
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PITCH DISTILLATION THROUGH CHROMATIC MOVEMENT
22
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23
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24
'
takes place:
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25
not find it. The bass line shows initial movement from
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26
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27
tonicization:
bar 3). On its own this might imply some tonicizing condition
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28
in point:
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29
■A o
As we saw in Section one (ex. 9), the ultimate function
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30
of seventh chords:
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E is furthermore'retained as a pedal point in bars 33 - 36
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31
Bars 213 - 219 begin a move away from the music in the
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If one focuses on the bass line of bars 207 - 219 one sees
me
EE
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33
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34
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TONIC EXPRESSION IN THE FIRST TWO MOVEMENTS
one sees that they are highly cross - related and that they
35
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36
im
Ft
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■£r
occurs in bars 25 - 2 6 :
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38
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A look at bars 95 - 97 shows the end of the first
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39
a tonic orientation.
Thus, with these procedures we notice that Bruckner
harmony:
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40
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A closer examination of the pitches preceding each move
to D shows a collection in which the only possible tonicizing
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41
structural 'signposts'.
The passage beginning with bar 88 indicates
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The music continues with a melody in A, further confirming
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43
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CONCLUSION
44
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45
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BIBLIOGRAPHY
46
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