The Interruption-Fill and Corollary Procedures

Author:

Goldenberg Yosef1

Affiliation:

1. The Hebrew University of Jerusalem and the Jerusalem Academy of Music and Dance

Abstract

Occasionally a link is inserted between the two branches of paradigmatic interruption structure. The chief type is based on chromatic ascent from pre-interruption ".fn_scaledegree("2")." to the regained primary tone. This is a stock figure in classical themes, especially in slow movements, but also serves as the basis for special artistic devices. The interruption-fill poses some theoretical difficulties.

Publisher

Society for Music Theory

Subject

Music

Reference53 articles.

1. Agmon, Eytan. 1996. “Conventional Harmonic Wisdom and the Scope of Schenkerian Theory: A Reply to John Rothgeb.”Music Theory Online2, no. 3. http://www.mtosmt.org/issues/mto.96.2.3/mto.96.2.3.agmon.html

2. Beach, David. 1983. “A Recurring Pattern in Mozart’s Music.”Journal of Music Theory27, no. 1: 1–29.

3. Burstein, Poundie L. 1998. “Surprising Returns: the ".fn_sharp("VII")." in Beethoven’s Op. 18 No. 3, and its Antecedents in Haydn.”Music Analysis17, no. 3: 295–312.

4. Cadwallader, Allen and David Gagné. 1998/2007.Analysis of Tonal Music: A Schenkerian Approach. Oxford: Oxford University Press. 2nd ed.

5. Caplin, William E. 1998.Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart and Beethoven. Oxford: Oxford University Press.

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