@Article{          hutchinson.ea2022-cadential,
    author       = {Hutchinson, Kyle and Poon, Matthew},
    year         = {2022},
    title        = {Cadential {Melodies}: {Form}-{Functional} {Taxonomy} and
                   the {Role} of the {Upper} {Voice}},
    journal      = {Music Theory Online},
    volume       = {28},
    number       = {2},
    month        = {May},
    issn         = {1067-3040},
    abstract     = {This article proposes that engaging with structural
                   melodic content can expand how we conceive of cadential
                   function and add nuance to the more harmonically driven
                   approaches of Caplinian form-functional theory. Drawing on
                   discussions by Schenker, Marx, and Schoenberg, we posit
                   parallels between structural melodic configurations and
                   the temporal formal functions of Caplinian theory. Through
                   several analytic examples we suggest that certain melodic
                   directions have default association with Caplin's temporal
                   functions: ascending lines are typically associated with
                   initiating functions, while the static prolongation of
                   structural tones typically serves as either initiating or
                   medial functions. Conversely, descending melodic lines,
                   especially terminating on 1^ (authentic cadences) or 2^
                   (half cadences) are endemic of concluding functions. We do
                   not suggest that melodic considerations replace harmonic
                   ones, but rather conclude that the two domains are
                   symbiotic in the sense that melodic consideration can
                   reinforce or undermine harmonic ones, and vice versa.
                   Ultimately, we use this rebalancing of analytic focus as a
                   means of reengaging with various problematic phrase types
                   and suggest further efficacy for this approach with
                   respect to nineteenth-century formal expansions.},
    doi          = {10.30535/mto.28.2.4},
    keywords     = {form-functional theory, cadences, melodic structure,
                   phrase structure, William Caplin},
    language     = {en},
    tags         = {music theory},
    url          = {https://www.mtosmt.org/issues/mto.22.28.2/mto.22.28.2.hutchinsonpoon.html}
}

{"_id":"HxQmtrrfCBwasmZsh","bibbaseid":"hutchinson-poon-cadentialmelodiesformfunctionaltaxonomyandtheroleoftheuppervoice-2022","author_short":["Hutchinson, K.","Poon, M."],"bibdata":{"bibtype":"article","type":"article","author":[{"propositions":[],"lastnames":["Hutchinson"],"firstnames":["Kyle"],"suffixes":[]},{"propositions":[],"lastnames":["Poon"],"firstnames":["Matthew"],"suffixes":[]}],"year":"2022","title":"Cadential Melodies: Form-Functional Taxonomy and the Role of the Upper Voice","journal":"Music Theory Online","volume":"28","number":"2","month":"May","issn":"1067-3040","abstract":"This article proposes that engaging with structural melodic content can expand how we conceive of cadential function and add nuance to the more harmonically driven approaches of Caplinian form-functional theory. Drawing on discussions by Schenker, Marx, and Schoenberg, we posit parallels between structural melodic configurations and the temporal formal functions of Caplinian theory. Through several analytic examples we suggest that certain melodic directions have default association with Caplin's temporal functions: ascending lines are typically associated with initiating functions, while the static prolongation of structural tones typically serves as either initiating or medial functions. Conversely, descending melodic lines, especially terminating on 1^ (authentic cadences) or 2^ (half cadences) are endemic of concluding functions. We do not suggest that melodic considerations replace harmonic ones, but rather conclude that the two domains are symbiotic in the sense that melodic consideration can reinforce or undermine harmonic ones, and vice versa. Ultimately, we use this rebalancing of analytic focus as a means of reengaging with various problematic phrase types and suggest further efficacy for this approach with respect to nineteenth-century formal expansions.","doi":"10.30535/mto.28.2.4","keywords":"form-functional theory, cadences, melodic structure, phrase structure, William Caplin","language":"en","tags":"music theory","url":"https://www.mtosmt.org/issues/mto.22.28.2/mto.22.28.2.hutchinsonpoon.html","bibtex":"@Article{ hutchinson.ea2022-cadential,\n author = {Hutchinson, Kyle and Poon, Matthew},\n year = {2022},\n title = {Cadential {Melodies}: {Form}-{Functional} {Taxonomy} and\n the {Role} of the {Upper} {Voice}},\n journal = {Music Theory Online},\n volume = {28},\n number = {2},\n month = {May},\n issn = {1067-3040},\n abstract = {This article proposes that engaging with structural\n melodic content can expand how we conceive of cadential\n function and add nuance to the more harmonically driven\n approaches of Caplinian form-functional theory. Drawing on\n discussions by Schenker, Marx, and Schoenberg, we posit\n parallels between structural melodic configurations and\n the temporal formal functions of Caplinian theory. Through\n several analytic examples we suggest that certain melodic\n directions have default association with Caplin's temporal\n functions: ascending lines are typically associated with\n initiating functions, while the static prolongation of\n structural tones typically serves as either initiating or\n medial functions. Conversely, descending melodic lines,\n especially terminating on 1^ (authentic cadences) or 2^\n (half cadences) are endemic of concluding functions. We do\n not suggest that melodic considerations replace harmonic\n ones, but rather conclude that the two domains are\n symbiotic in the sense that melodic consideration can\n reinforce or undermine harmonic ones, and vice versa.\n Ultimately, we use this rebalancing of analytic focus as a\n means of reengaging with various problematic phrase types\n and suggest further efficacy for this approach with\n respect to nineteenth-century formal expansions.},\n doi = {10.30535/mto.28.2.4},\n keywords = {form-functional theory, cadences, melodic structure,\n phrase structure, William Caplin},\n language = {en},\n tags = {music theory},\n url = {https://www.mtosmt.org/issues/mto.22.28.2/mto.22.28.2.hutchinsonpoon.html}\n}\n\n","author_short":["Hutchinson, K.","Poon, M."],"key":"hutchinson.ea2022-cadential","id":"hutchinson.ea2022-cadential","bibbaseid":"hutchinson-poon-cadentialmelodiesformfunctionaltaxonomyandtheroleoftheuppervoice-2022","role":"author","urls":{"Paper":"https://www.mtosmt.org/issues/mto.22.28.2/mto.22.28.2.hutchinsonpoon.html"},"keyword":["form-functional theory","cadences","melodic structure","phrase structure","William Caplin"],"metadata":{"authorlinks":{}}},"bibtype":"article","biburl":"https://hmb.sampaio.me/bibliografia.bib.txt","dataSources":["n6MFY2CscQLDpJ7nT"],"keywords":["form-functional theory","cadences","melodic structure","phrase structure","william caplin"],"search_terms":["cadential","melodies","form","functional","taxonomy","role","upper","voice","hutchinson","poon"],"title":"Cadential Melodies: Form-Functional Taxonomy and the Role of the Upper Voice","year":2022}