Analysis of the evolution of musical forms . (10) (11) (12) =1: i^ii: :^ ti^Z^trc:^-. Frequently pitch-idiom will tend more and moreto variation until it may lose its identity and becomemerged in a continually varying pitch-outline. Whenthis stage is reached repetition in pitch-outline is at aminimum, the ear being satisfied by the relations oftime-idiom and the larger outlines of circling the pitch-figure does not, therefore, disappear frommusic altogether. On the contrary it reappears undernew conditions. It is in combination v/ith equal time- PITCH-IDIOM 167 outline that the pitc
Analysis of the evolution of musical forms . (10) (11) (12) =1: i^ii: :^ ti^Z^trc:^-. Frequently pitch-idiom will tend more and moreto variation until it may lose its identity and becomemerged in a continually varying pitch-outline. Whenthis stage is reached repetition in pitch-outline is at aminimum, the ear being satisfied by the relations oftime-idiom and the larger outlines of circling the pitch-figure does not, therefore, disappear frommusic altogether. On the contrary it reappears undernew conditions. It is in combination v/ith equal time- PITCH-IDIOM 167 outline that the pitch-figure finds its normal it is indispensable. Owing to the absence ofunequal values, and, therefore, of the time-figure, thepitch-figure and its idiom actually replace fiill into the background, and pitch-relations take their place as the exponent of theidiomatic idea. That these are the weaker kind isevident from the fact that its possibilities of variationare much smaller. Time-idiom will naturally developa free pitch-outline without loss
Size: 3236px × 772px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1900, bookdecade1900, booksubjectmusicalmeterandrhyth
