Keeping Up with the Words: Expressive Phrase Overlapping in the Late Italian Madrigal
Identifieur interne : 000015 ( Istex/Corpus ); précédent : 000014; suivant : 000016Keeping Up with the Words: Expressive Phrase Overlapping in the Late Italian Madrigal
Auteurs : John Turci ScobarSource :
- Music Analysis [ 0262-5245 ] ; 2011-07.
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
<record><TEI wicri:istexFullTextTei="biblStruct"><teiHeader><fileDesc><titleStmt><title xml:lang="en">Keeping Up with the Words: Expressive Phrase Overlapping in the Late Italian Madrigal</title><author><name sortKey="Turci Scobar, John" sort="Turci Scobar, John" uniqKey="Turci Scobar J" first="John" last="Turci Scobar">John Turci Scobar</name><affiliation><mods:affiliation>Washington University in St. Louis</mods:affiliation></affiliation></author></titleStmt><publicationStmt><idno type="wicri:source">ISTEX</idno><idno type="RBID">ISTEX:263FF24D73809013145ADAADBF67EFB460F148DF</idno><date when="2011" year="2011">2011</date><idno type="doi">10.1111/j.1468-2249.2011.00303.x</idno><idno type="url">https://api.istex.fr/document/263FF24D73809013145ADAADBF67EFB460F148DF/fulltext/pdf</idno><idno type="wicri:Area/Istex/Corpus">000015</idno></publicationStmt><sourceDesc><biblStruct><analytic><title level="a" type="main" xml:lang="en">Keeping Up with the Words: Expressive Phrase Overlapping in the Late Italian Madrigal</title><author><name sortKey="Turci Scobar, John" sort="Turci Scobar, John" uniqKey="Turci Scobar J" first="John" last="Turci Scobar">John Turci Scobar</name><affiliation><mods:affiliation>Washington University in St. Louis</mods:affiliation></affiliation></author></analytic><monogr></monogr><series><title level="j">Music Analysis</title><idno type="ISSN">0262-5245</idno><idno type="eISSN">1468-2249</idno><imprint><publisher>Blackwell Publishing Ltd</publisher><pubPlace>Oxford, UK</pubPlace><date type="published" when="2011-07">2011-07</date><biblScope unit="volume">30</biblScope><biblScope unit="issue">2‐3</biblScope><biblScope unit="page" from="152">152</biblScope><biblScope unit="page" to="185">185</biblScope></imprint><idno type="ISSN">0262-5245</idno></series><idno type="istex">263FF24D73809013145ADAADBF67EFB460F148DF</idno><idno type="DOI">10.1111/j.1468-2249.2011.00303.x</idno><idno type="ArticleID">MUSA303</idno></biblStruct></sourceDesc><seriesStmt><idno type="ISSN">0262-5245</idno></seriesStmt></fileDesc><profileDesc><textClass></textClass><langUsage><language ident="en">en</language></langUsage></profileDesc></teiHeader><front><div type="abstract" xml: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.</div></front></TEI><istex><corpusName>wiley</corpusName><author><json:item><name>JOHN TURCI‐ESCOBAR</name><affiliations><json:string>Washington University in St. Louis</json:string></affiliations></json:item></author><language><json:string>eng</json:string></language><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.</abstract><qualityIndicators><score>7.148</score><pdfVersion>1.3</pdfVersion><pdfPageSize>484.7 x 697.3 pts</pdfPageSize><refBibsNative>true</refBibsNative><keywordCount>0</keywordCount><abstractCharCount>1196</abstractCharCount><pdfWordCount>11908</pdfWordCount><pdfCharCount>69604</pdfCharCount><pdfPageCount>34</pdfPageCount><abstractWordCount>179</abstractWordCount></qualityIndicators><title>Keeping Up with the Words: Expressive Phrase Overlapping in the Late Italian Madrigal</title><genre><json:string>article</json:string></genre><host><volume>30</volume><pages><total>34</total><last>185</last><first>152</first></pages><issn><json:string>0262-5245</json:string></issn><issue>2‐3</issue><genre></genre><language><json:string>unknown</json:string></language><eissn><json:string>1468-2249</json:string></eissn><title>Music Analysis</title><doi><json:string>10.1111/(ISSN)1468-2249</json:string></doi></host><publicationDate>2011</publicationDate><copyrightDate>2011</copyrightDate><doi><json:string>10.1111/j.1468-2249.2011.00303.x</json:string></doi><id>263FF24D73809013145ADAADBF67EFB460F148DF</id><fulltext><json:item><original>true</original><mimetype>application/pdf</mimetype><extension>pdf</extension><uri>https://api.istex.fr/document/263FF24D73809013145ADAADBF67EFB460F148DF/fulltext/pdf</uri></json:item><json:item><original>false</original><mimetype>application/zip</mimetype><extension>zip</extension><uri>https://api.istex.fr/document/263FF24D73809013145ADAADBF67EFB460F148DF/fulltext/zip</uri></json:item><istex:fulltextTEI uri="https://api.istex.fr/document/263FF24D73809013145ADAADBF67EFB460F148DF/fulltext/tei"><teiHeader><fileDesc><titleStmt><title level="a" type="main" xml:lang="en">Keeping Up with the Words: Expressive Phrase Overlapping in the Late Italian Madrigal</title></titleStmt><publicationStmt><authority>ISTEX</authority><publisher>Blackwell Publishing Ltd</publisher><pubPlace>Oxford, UK</pubPlace><availability><p>WILEY</p></availability><date>2011</date></publicationStmt><sourceDesc><biblStruct type="inbook"><analytic><title level="a" type="main" xml:lang="en">Keeping Up with the Words: Expressive Phrase Overlapping in the Late Italian Madrigal</title><author><persName><forename type="first">JOHN</forename><surname>TURCI‐ESCOBAR</surname></persName><affiliation>Washington University in St. Louis</affiliation></author></analytic><monogr><title level="j">Music Analysis</title><idno type="pISSN">0262-5245</idno><idno type="eISSN">1468-2249</idno><idno type="DOI">10.1111/(ISSN)1468-2249</idno><imprint><publisher>Blackwell Publishing Ltd</publisher><pubPlace>Oxford, UK</pubPlace><date type="published" when="2011-07"></date><biblScope unit="volume">30</biblScope><biblScope unit="issue">2‐3</biblScope><biblScope unit="page" from="152">152</biblScope><biblScope unit="page" to="185">185</biblScope></imprint></monogr><idno type="istex">263FF24D73809013145ADAADBF67EFB460F148DF</idno><idno type="DOI">10.1111/j.1468-2249.2011.00303.x</idno><idno type="ArticleID">MUSA303</idno></biblStruct></sourceDesc></fileDesc><profileDesc><creation><date>2011</date></creation><langUsage><language ident="en">en</language></langUsage><abstract xml:lang="en"><p>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.</p></abstract></profileDesc><revisionDesc><change when="2011-07">Published</change></revisionDesc></teiHeader></istex:fulltextTEI><json:item><original>false</original><mimetype>text/plain</mimetype><extension>txt</extension><uri>https://api.istex.fr/document/263FF24D73809013145ADAADBF67EFB460F148DF/fulltext/txt</uri></json:item></fulltext><metadata><istex:metadataXml wicri:clean="Wiley, elements deleted: body"><istex:xmlDeclaration>version="1.0" encoding="UTF-8" standalone="yes"</istex:xmlDeclaration><istex:document><component version="2.0" type="serialArticle" xml:lang="en"><header><publicationMeta level="product"><publisherInfo><publisherName>Blackwell Publishing Ltd</publisherName><publisherLoc>Oxford, UK</publisherLoc></publisherInfo><doi origin="wiley" registered="yes">10.1111/(ISSN)1468-2249</doi><issn type="print">0262-5245</issn><issn type="electronic">1468-2249</issn><idGroup><id type="product" value="MUSA"></id><id type="publisherDivision" value="ST"></id></idGroup><titleGroup><title type="main" sort="MUSIC ANALYSIS">Music Analysis</title></titleGroup></publicationMeta><publicationMeta level="part" position="07102"><doi origin="wiley">10.1111/musa.2011.30.issue-2-3</doi><numberingGroup><numbering type="journalVolume" number="30">30</numbering><numbering type="journalIssue">2‐3</numbering></numberingGroup><coverDate startDate="2011-07">July/October 2011</coverDate></publicationMeta><publicationMeta level="unit" type="article" position="2" status="forIssue"><doi origin="wiley">10.1111/j.1468-2249.2011.00303.x</doi><idGroup><id type="unit" value="MUSA303"></id></idGroup><countGroup><count type="pageTotal" number="34"></count></countGroup><titleGroup><title type="tocHeading1">ORIGINAL ARTICLES</title></titleGroup><copyright>© 2012 The Author. Music Analysis © 2012 Blackwell Publishing Ltd</copyright><eventGroup><event type="xmlConverted" agent="Converter:BPG_TO_WML3G version:3.1.5 mode:FullText" date="2012-06-19"></event><event type="publishedOnlineEarlyUnpaginated" date="2012-04-13"></event><event type="firstOnline" date="2012-04-13"></event><event type="publishedOnlineFinalForm" date="2012-06-19"></event><event type="xmlConverted" agent="Converter:WILEY_ML3G_TO_WILEY_ML3GV2 version:3.8.8" date="2014-02-03"></event><event type="xmlConverted" agent="Converter:WML3G_To_WML3G version:4.1.7 mode:FullText,remove_FC" date="2014-10-31"></event></eventGroup><numberingGroup><numbering type="pageFirst" number="152">152</numbering><numbering type="pageLast" number="185">185</numbering></numberingGroup><linkGroup><link type="toTypesetVersion" href="file:MUSA.MUSA303.pdf"></link></linkGroup></publicationMeta><contentMeta><countGroup><count type="figureTotal" number="26"></count><count type="tableTotal" number="1"></count><count type="formulaTotal" number="0"></count><count type="referenceTotal" number="23"></count><count type="wordTotal" number="12535"></count><count type="linksPubMed" number="0"></count><count type="linksCrossRef" number="0"></count></countGroup><titleGroup><title type="main">K<sc>eeping</sc> U<sc>p with the</sc> W<sc>ords</sc>: E<sc>xpressive</sc> P<sc>hrase</sc> O<sc>verlapping in the</sc> L<sc>ate</sc> I<sc>talian</sc> M<sc>adrigal</sc></title><title type="shortAuthors"><sc>john turci</sc>‐<sc>escobar</sc></title><title type="short">K<sc>eeping</sc> U<sc>p with the</sc> W<sc>ords</sc></title></titleGroup><creators><creator creatorRole="author" xml:id="cr1" affiliationRef="#a1"><personName><givenNames>JOHN</givenNames><familyName>TURCI‐ESCOBAR</familyName></personName></creator></creators><affiliationGroup><affiliation xml:id="a1" countryCode="US"><unparsedAffiliation>Washington University in St. Louis</unparsedAffiliation></affiliation></affiliationGroup><abstractGroup><abstract type="main" xml:lang="en"><title type="main">ABSTRACT</title><p>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.</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"><title>Keeping Up with the Words</title></titleInfo><titleInfo type="alternative" contentType="CDATA" lang="en"><title>K</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"></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><internetMediaType>text/html</internetMediaType><extent unit="figures">26</extent><extent unit="tables">1</extent><extent unit="references">23</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">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="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. Music Analysis © 2012 Blackwell Publishing Ltd</accessCondition><recordInfo><recordContentSource>WILEY</recordContentSource><recordOrigin>Blackwell Publishing Ltd</recordOrigin></recordInfo></mods></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
EXPLOR_STEP=$WICRI_ROOT/Wicri/Musique/explor/MonteverdiV1/Data/Istex/Corpus
HfdSelect -h $EXPLOR_STEP/biblio.hfd -nk 000015 | SxmlIndent | more
Ou
HfdSelect -h $EXPLOR_AREA/Data/Istex/Corpus/biblio.hfd -nk 000015 | SxmlIndent | more
Pour mettre un lien sur cette page dans le réseau Wicri
{{Explor lien
|wiki= Wicri/Musique
|area= MonteverdiV1
|flux= Istex
|étape= Corpus
|type= RBID
|clé= ISTEX:263FF24D73809013145ADAADBF67EFB460F148DF
|texte= Keeping Up with the Words: Expressive Phrase Overlapping in the Late Italian Madrigal
}}
| This area was generated with Dilib version V0.6.21. |  |