Keeping Up with the Words: Expressive Phrase Overlapping in the Late Italian Madrigal
Identifieur interne : 000B76 ( Istex/Corpus ); précédent : 000B75; suivant : 000B77Keeping Up with the Words: Expressive Phrase Overlapping in the Late Italian Madrigal
Auteurs : John Turci-EscobarSource :
- Music Analysis [ 0262-5245 ] ; 2011-07.
English descriptors
- Teeft :
- Adjacent phrases, Alto, Anthony newcomb, Blackwell, Blackwell publishing, Book viii, Cadence, Cadential, Chromatic, Chromatic phrase, Chromatic semitone, Chromatic semitones, Cinque, Cinque voci, Connective threads, Crotchet, Dissonance, Dissonance treatment, Dissonant, Dissonant leap, Dissonant leaps, Dissonant neighbour note, Dissonant note, Dissonant phrase, Dissonant suspensions, Expressive, Expressive activity, Expressive phrase, False relation, False relations, Fontanelli, Gesualdo, Gure, Last harmony, Last note, Last syllable, Late italian madrigal, Late madrigal, Libro, Luzzaschi, Madrigal, Madrigal composers, Madrigali, Marenzio, Mentre gira costei, Metrical space, Monteverdi, More entries, Music analysis, Musical activity, Musical construction, Musical continuity, Musical culture, Musical phrase, Musical representation, Neighbour, Neighbouring, Neighbouring motion, Neighbouring motions, Newcomb, Other voices, Outgoing phrase, Penultimate, Phrase, Poetic text, Primo libro, Punctuation, Quarto libro, Quaver, Quinto, Quinto libro, Rhythmic momentum, Second pitch, Second pitches, Secondo libro, Semitone, Sesto libro, Single gesture, Sixteenth century, Standard cadence, Strong cadence, Subject entry, Syllable, Verbal punctuation, Voci.
Abstract
For madrigal composers making every effort to follow the words, the transition from one phrase to the next presented a stumbling block. Transitions in sixteenth‐century polyphony typically feature a cadence in the exiting phrase and a new point of imitation in the approaching phrase. These events not only interrupt the rate of motion, but also create a musical space which is expressively neutral. In the borderlands between adjacent phrases, therefore, the music often lags behind the verbal text. The present study calls attention to a special type of phrase overlapping, one which brings extra‐musical resonance to the areas between one phrase and the next. In expressive phrase overlapping, one or more entries of a new phrase introduce music‐rhetorical devices among the closing gestures of the outgoing phrase. The commentary focusses on four types of expressive phrase overlapping, each involving one type of text‐expressive licence: dissonance, false relations, chromatic semitones and dissonant leaps. More broadly, the argument attempts to ground analytical enquiry in questions which reflect the aesthetic concerns of the musical culture that produced and received the late madrigal.
Url:
DOI: 10.1111/j.1468-2249.2011.00303.x
Links to Exploration step
ISTEX:263FF24D73809013145ADAADBF67EFB460F148DFLe document en format XML
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Music Analysis © 2012 Blackwell Publishing Ltd</licence></availability><date type="published" when="2011-07"></date></publicationStmt><notesStmt><note type="content-type" subtype="article" source="article" scheme="https://content-type.data.istex.fr/ark:/67375/XTP-6N5SZHKN-D">article</note><note type="publication-type" subtype="journal" scheme="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</note></notesStmt><sourceDesc><biblStruct type="article"><analytic><title level="a" type="main">K<hi rend="smallCaps">eeping</hi> U<hi rend="smallCaps">p with the</hi> W<hi rend="smallCaps">ords</hi>: E<hi rend="smallCaps">xpressive</hi> P<hi rend="smallCaps">hrase</hi> O<hi rend="smallCaps">verlapping in the</hi> L<hi rend="smallCaps">ate</hi> I<hi rend="smallCaps">talian</hi> M<hi rend="smallCaps">adrigal</hi></title><title level="a" type="short">Keeping Up with the Words</title><author xml:id="author-0000"><persName><forename type="first">JOHN</forename><surname>TURCI‐ESCOBAR</surname></persName><affiliation><orgName type="institution">Washington University in St. Louis</orgName></affiliation></author><idno type="istex">263FF24D73809013145ADAADBF67EFB460F148DF</idno><idno type="ark">ark:/67375/WNG-WH01R7ZS-K</idno><idno type="DOI">10.1111/j.1468-2249.2011.00303.x</idno><idno type="unit">MUSA303</idno><idno type="toTypesetVersion">file:MUSA.MUSA303.pdf</idno></analytic><monogr><title level="j" type="main">Music Analysis</title><title level="j" type="alt">MUSIC ANALYSIS</title><idno type="pISSN">0262-5245</idno><idno type="eISSN">1468-2249</idno><idno type="book-DOI">10.1111/(ISSN)1468-2249</idno><idno type="book-part-DOI">10.1111/musa.2011.30.issue-2-3</idno><idno type="product">MUSA</idno><idno type="publisherDivision">ST</idno><imprint><biblScope unit="vol">30</biblScope><biblScope unit="issue">2‐3</biblScope><biblScope unit="page" from="152">152</biblScope><biblScope unit="page" to="185">185</biblScope><biblScope unit="page-count">34</biblScope><publisher>Blackwell Publishing Ltd</publisher><pubPlace>Oxford, UK</pubPlace><date type="published" when="2011-07"></date></imprint></monogr></biblStruct></sourceDesc></fileDesc><profileDesc><abstract xml:lang="en" style="main"><head>ABSTRACT</head><p>For madrigal composers making every effort to follow the words, the transition from one phrase to the next presented a stumbling block. 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Transitions in sixteenth‐century polyphony typically feature a cadence in the exiting phrase and a new point of imitation in the approaching phrase. These events not only interrupt the rate of motion, but also create a musical space which is expressively neutral. In the borderlands between adjacent phrases, therefore, the music often lags behind the verbal text. The present study calls attention to a special type of phrase overlapping, one which brings extra‐musical resonance to the areas between one phrase and the next. In expressive phrase overlapping, one or more entries of a new phrase introduce music‐rhetorical devices among the closing gestures of the outgoing phrase. The commentary focusses on four types of expressive phrase overlapping, each involving one type of text‐expressive licence: dissonance, false relations, chromatic semitones and dissonant leaps. More broadly, the argument attempts to ground analytical enquiry in questions which reflect the aesthetic concerns of the musical culture that produced and received the late madrigal.</p></abstract></abstractGroup></contentMeta></header></component></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>Keeping Up with the Words: Expressive Phrase Overlapping in the Late Italian Madrigal</title></titleInfo><titleInfo type="abbreviated" lang="en"><title>Keeping Up with the Words</title></titleInfo><titleInfo type="alternative" contentType="CDATA" lang="en"><title>Keeping Up with the Words: Expressive Phrase Overlapping in the Late Italian Madrigal</title></titleInfo><name type="personal"><namePart type="given">JOHN</namePart><namePart type="family">TURCI‐ESCOBAR</namePart><affiliation>Washington University in St. Louis</affiliation><role><roleTerm type="text">author</roleTerm></role></name><typeOfResource>text</typeOfResource><genre type="article" displayLabel="article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-6N5SZHKN-D">article</genre><originInfo><publisher>Blackwell Publishing Ltd</publisher><place><placeTerm type="text">Oxford, UK</placeTerm></place><dateIssued encoding="w3cdtf">2011-07</dateIssued><copyrightDate encoding="w3cdtf">2011</copyrightDate></originInfo><language><languageTerm type="code" authority="rfc3066">en</languageTerm><languageTerm type="code" authority="iso639-2b">eng</languageTerm></language><physicalDescription><extent unit="figures">26</extent><extent unit="tables">1</extent><extent unit="formulas">0</extent><extent unit="references">23</extent><extent unit="linksCrossRef">0</extent><extent unit="words">12535</extent></physicalDescription><abstract lang="en">For madrigal composers making every effort to follow the words, the transition from one phrase to the next presented a stumbling block. Transitions in sixteenth‐century polyphony typically feature a cadence in the exiting phrase and a new point of imitation in the approaching phrase. These events not only interrupt the rate of motion, but also create a musical space which is expressively neutral. In the borderlands between adjacent phrases, therefore, the music often lags behind the verbal text. The present study calls attention to a special type of phrase overlapping, one which brings extra‐musical resonance to the areas between one phrase and the next. In expressive phrase overlapping, one or more entries of a new phrase introduce music‐rhetorical devices among the closing gestures of the outgoing phrase. The commentary focusses on four types of expressive phrase overlapping, each involving one type of text‐expressive licence: dissonance, false relations, chromatic semitones and dissonant leaps. More broadly, the argument attempts to ground analytical enquiry in questions which reflect the aesthetic concerns of the musical culture that produced and received the late madrigal.</abstract><relatedItem type="host"><titleInfo><title>Music Analysis</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><identifier type="ISSN">0262-5245</identifier><identifier type="eISSN">1468-2249</identifier><identifier type="DOI">10.1111/(ISSN)1468-2249</identifier><identifier type="PublisherID">MUSA</identifier><part><date>2011</date><detail type="volume"><caption>vol.</caption><number>30</number></detail><detail type="issue"><caption>no.</caption><number>2‐3</number></detail><extent unit="pages"><start>152</start><end>185</end><total>34</total></extent></part></relatedItem><identifier type="istex">263FF24D73809013145ADAADBF67EFB460F148DF</identifier><identifier type="ark">ark:/67375/WNG-WH01R7ZS-K</identifier><identifier type="DOI">10.1111/j.1468-2249.2011.00303.x</identifier><identifier type="ArticleID">MUSA303</identifier><accessCondition type="use and reproduction" contentType="copyright">© 2012 The Author. 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