Abstract
ABSTRACTThis article applies Hatten's (1994) concept of the ‘arrival ’ – a cadential that resolves tonal or thematic instabilities without necessarily proceeding to V(7) – to cadences and cadential gestures in Wagner's Die Walküre. It identifies and describes three essential types of arrival chord: a cadential becoming I and launching a new leitmotivic passage (type 1); one continuing in the cadential progression and initiating a new leitmotivic passage (type 2) and one continuing in the cadential progression and becoming a rhetorical highpoint (type 3). Ultimately, it demonstrates that examples of each type produce an aurally illuminating, ‘marked’ effect within Wagnerian ‘musical prose’ in conjunction with the dramatic circumstances.
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