Analysis of the evolution of musical forms . accent comes to be considered a somewhatvulgar superfluity, its true function having completelydisappeared. But where pitch-outline has developed on naturallines it assumes an idiomatic character derived, inthe first instance, from time-outline. The time-figurenaturally gives birth to a pitch-figure, a few notes orchords of varying pitch modelled on the lines of thetime-figure. In a strict development the pitch-figureis usually incessantly and exactly repeated. But incourse of time, as strict form gives way to free,variety is require


Analysis of the evolution of musical forms . accent comes to be considered a somewhatvulgar superfluity, its true function having completelydisappeared. But where pitch-outline has developed on naturallines it assumes an idiomatic character derived, inthe first instance, from time-outline. The time-figurenaturally gives birth to a pitch-figure, a few notes orchords of varying pitch modelled on the lines of thetime-figure. In a strict development the pitch-figureis usually incessantly and exactly repeated. But incourse of time, as strict form gives way to free,variety is required. As the following example willshow, this variety mostly comes in, not as a modifi-cation of the original time-figure, but of the derivedpitch-figure. The principal variations of one of theleading ideas of this sonata are here presented, andthe movement is one that will repay exhaustiveanalysis. i66 THE EVOLUTION OF MUSICAL FORM Sonata in A Minor (Schubert, Op. 42).Time and Fitch Idiom. (1) :3^=3: (3) Izz^iqzq: iii q: J_ ij-J^-^ zi^zizsri:. (10) (11) (12) =1: i^ii: :^ ti^Z^trc:^-


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Keywords: ., bookcentury1900, bookdecade1900, booksubjectmusicalmeterandrhyth