Closure is traditionally understood primarily in terms of repose, harmonic cadence, and tonal stability. Viewed thusly, how closure, or arrival at stability, might be evidenced in twentieth-century works employing novel formal processes not abandoning the tonal concept altogether presents difficulties. This thesis (1) looks afresh at cadence and musical closure, (2) performs an analysis of Copland's published Sextet, seeking the means by which its cadential articulations express closure, and (3) correlates findings with evidence taken from the manuscript scores for the Sextet and its original version, the Short Symphony. Moreover, conclusions are devoted in part to aesthetic observations. / The term cadential closure is used to describe closure which occurs on particular structural levels when a melodic, harmonic, or rhythmic goal of a phrase or section is reached. In the Sextet, a discovered connection exists between the work's cadential language and tonal universe and the first movement's motivic cell highlighting a pitch against its dominant. / Source: Masters Abstracts International, Volume: 27-04, page: 0426. / Thesis (M.M.)--The Florida State University, 1989.
| Identifer | oai:union.ndltd.org:fsu.edu/oai:fsu.digital.flvc.org:fsu_77735 |
| Contributors | Mathers, Daniel E., Florida State University |
| Source Sets | Florida State University |
| Language | English |
| Detected Language | English |
| Type | Text |
| Format | 334 p. |
| Rights | On campus use only. |
| Relation | Masters Abstracts International |
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