Endings without Resolution: The Slow Movement and Finale of Schumann's Second Symphony

Suurpää, Lauri

doi:10.1017/9781782048633.011

Cited by 2 publications

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“…(58) In the consequent, is added to form an inverted V13/7, and it arrives directly from the HC that ends the antecedent. Dominant incursions into the consequent sometimes cancel out the interruption altogether (Jackson 1999;Suurpää 2005). In this case, however, the V does not continue all the way to the final cadence; rather, a true tonic that opens the consequent structurally arrives later.…”

Section: : Continuous Qaps With Invariant Melodic Beginningsmentioning

confidence: 99%

Continuous Question-Answer Pairs

Goldenberg

2020

MTO

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This article offers a generalized study of continuous question-answer pairs in common-practice tonal music. In all (and only in) question-answer pairs, the first ending is less conclusive than the second. The first ending need not, however, be a cadence. The category of question-answer pairs (QAPs) that are continuous cuts across various theme types in Caplin’s (1998) taxonomy. Examples of continuous QAPs include (1) continuous periods (with a dominant-version consequent or a consequent with a non-tonic beginning); (2) most, but not all cases of the hybrid theme type compound basic theme + consequent; and (3) many, but not all statement-response pairs in sentential presentations. Various aspects contribute to the evaluation of each specific case, including caesuras, motivic parallelism, symmetry, internal organization, unit length, independence of the hyper-unit, and melodic closure.

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Section: : Continuous Qaps With Invariant Melodic Beginningsmentioning

confidence: 99%

Continuous Question-Answer Pairs

Goldenberg

2020

MTO

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Prolongational Closure in the Lieder of Fanny Hensel

Rodgers

Osborne

2020

MTO

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In this article we explore Fanny Hensel’s songs that end without cadences but instead with what William Caplin (2018) calls “prolongational closure.” These songs, most of which come from the 1820s, are some of the earliest examples of piece-ending prolongational closure in the repertoire and thus offer important models for understanding how the technique was deployed by later composers. We propose three types of prolongational closure, drawn from a study of Hensel’s works—".fn_scaledegree(5)."–".fn_scaledegree(1)." fill, dominant substitution, and early pedal—and suggest that Hensel’s fascination with non-cadential endings offers yet more evidence that she was one of the most inventive composers in the first half of the nineteenth century.

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Endings without Resolution: The Slow Movement and Finale of Schumann's Second Symphony

Cited by 2 publications

References 0 publications

Continuous Question-Answer Pairs

Continuous Question-Answer Pairs

Prolongational Closure in the Lieder of Fanny Hensel

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