@Article{          mackay2013-franz,
    author       = {MacKay, James S.},
    year         = {2013},
    title        = {Franz Joseph Haydn and the Five-Octave Classical
                   Keyboard: Registral Extremes, Formal Emphases and Tonal
                   Strategies},
    abstract     = {The Classical keyboard in its various forms (harpsichord,
                   clavichord and fortepiano) typically had a modest
                   five-octave range (FF–f 3 ) prior to ca. 1800. This
                   essay examines how this range influenced the tonal shape
                   of Joseph Haydn's keyboard music written after 1765. The
                   author explores how Haydn used registral extremes to
                   emphasize major formal junctures, cadences and
                   modulations. Finally, he explores how the presence or
                   absence of the keyboard's extreme pitches contributes to
                   key character, examining the different contexts in which
                   Haydn uses them in three tonalities: D minor, C major and
                   A major. Avant environ 1800, les diff{\'{e}}rentes formes
                   d'instruments {\`{a}} clavier classiques (clavecin,
                   clavicorde et pianoforte) comportaient un modeste ambitus
                   de cinq octaves (de deux octaves et demie sous le do
                   central {\`{a}} fa deux octaves et demie au-dessus du do
                   central). Le pr{\'{e}}sent essai analyse comment cet
                   ambitus influe sur le contour tonal de la musique pour
                   clavier de Joseph Haydn, {\'{e}}crite apr{\`{e}}s 1765.
                   L'auteur d{\'{e}}montre comment Haydn utilisait les
                   extr{\'{e}}mit{\'{e}}s du registre pour mettre en relief
                   les principaux points de jonction formels, les cadences et
                   les modulations importantes. Enfin, il signale comment la
                   pr{\'{e}}sence ou l'absence des hauteurs extr{\^{e}}mement
                   graves ou aigu{\"{e}}s du clavier contribue {\`{a}}
                   accentuer le caract{\`{e}}re de la tonalit{\'{e}}. Pour ce
                   faire, il {\'{e}}tudie diff{\'{e}}rents contextes dans
                   lesquels Haydn les emploie : r{\'{e}} mineur, do majeur et la majeur.},
    doi          = {10.7202/1014521ar},
    issn         = {0710-0353},
    journal      = {Canadian University Music Review},
    keywords     = {music analysis},
    mendeley-tags= {music analysis},
    number       = {1-2},
    pages        = {126--144},
    volume       = {23}
}

{"_id":"hGgcx49MBLqLmovvf","bibbaseid":"mackay-franzjosephhaydnandthefiveoctaveclassicalkeyboardregistralextremesformalemphasesandtonalstrategies-2013","authorIDs":[],"author_short":["MacKay, J. S."],"bibdata":{"bibtype":"article","type":"article","author":[{"propositions":[],"lastnames":["MacKay"],"firstnames":["James","S."],"suffixes":[]}],"year":"2013","title":"Franz Joseph Haydn and the Five-Octave Classical Keyboard: Registral Extremes, Formal Emphases and Tonal Strategies","abstract":"The Classical keyboard in its various forms (harpsichord, clavichord and fortepiano) typically had a modest five-octave range (FF–f 3 ) prior to ca. 1800. This essay examines how this range influenced the tonal shape of Joseph Haydn's keyboard music written after 1765. The author explores how Haydn used registral extremes to emphasize major formal junctures, cadences and modulations. Finally, he explores how the presence or absence of the keyboard's extreme pitches contributes to key character, examining the different contexts in which Haydn uses them in three tonalities: D minor, C major and A major. Avant environ 1800, les différentes formes d'instruments à clavier classiques (clavecin, clavicorde et pianoforte) comportaient un modeste ambitus de cinq octaves (de deux octaves et demie sous le do central à fa deux octaves et demie au-dessus du do central). Le présent essai analyse comment cet ambitus influe sur le contour tonal de la musique pour clavier de Joseph Haydn, écrite après 1765. L'auteur démontre comment Haydn utilisait les extrémités du registre pour mettre en relief les principaux points de jonction formels, les cadences et les modulations importantes. Enfin, il signale comment la présence ou l'absence des hauteurs extrêmement graves ou aiguës du clavier contribue à accentuer le caractère de la tonalité. Pour ce faire, il étudie différents contextes dans lesquels Haydn les emploie : ré mineur, do majeur et la majeur.","doi":"10.7202/1014521ar","issn":"0710-0353","journal":"Canadian University Music Review","keywords":"music analysis","mendeley-tags":"music analysis","number":"1-2","pages":"126–144","volume":"23","bibtex":"@Article{ mackay2013-franz,\n author = {MacKay, James S.},\n year = {2013},\n title = {Franz Joseph Haydn and the Five-Octave Classical\n Keyboard: Registral Extremes, Formal Emphases and Tonal\n Strategies},\n abstract = {The Classical keyboard in its various forms (harpsichord,\n clavichord and fortepiano) typically had a modest\n five-octave range (FF–f 3 ) prior to ca. 1800. This\n essay examines how this range influenced the tonal shape\n of Joseph Haydn's keyboard music written after 1765. The\n author explores how Haydn used registral extremes to\n emphasize major formal junctures, cadences and\n modulations. Finally, he explores how the presence or\n absence of the keyboard's extreme pitches contributes to\n key character, examining the different contexts in which\n Haydn uses them in three tonalities: D minor, C major and\n A major. Avant environ 1800, les diff{\\'{e}}rentes formes\n d'instruments {\\`{a}} clavier classiques (clavecin,\n clavicorde et pianoforte) comportaient un modeste ambitus\n de cinq octaves (de deux octaves et demie sous le do\n central {\\`{a}} fa deux octaves et demie au-dessus du do\n central). Le pr{\\'{e}}sent essai analyse comment cet\n ambitus influe sur le contour tonal de la musique pour\n clavier de Joseph Haydn, {\\'{e}}crite apr{\\`{e}}s 1765.\n L'auteur d{\\'{e}}montre comment Haydn utilisait les\n extr{\\'{e}}mit{\\'{e}}s du registre pour mettre en relief\n les principaux points de jonction formels, les cadences et\n les modulations importantes. Enfin, il signale comment la\n pr{\\'{e}}sence ou l'absence des hauteurs extr{\\^{e}}mement\n graves ou aigu{\\\"{e}}s du clavier contribue {\\`{a}}\n accentuer le caract{\\`{e}}re de la tonalit{\\'{e}}. Pour ce\n faire, il {\\'{e}}tudie diff{\\'{e}}rents contextes dans\n lesquels Haydn les emploie : r{\\'{e}} mineur, do majeur et la majeur.},\n doi = {10.7202/1014521ar},\n issn = {0710-0353},\n journal = {Canadian University Music Review},\n keywords = {music analysis},\n mendeley-tags= {music analysis},\n number = {1-2},\n pages = {126--144},\n volume = {23}\n}\n\n","author_short":["MacKay, J. S."],"key":"mackay2013-franz","id":"mackay2013-franz","bibbaseid":"mackay-franzjosephhaydnandthefiveoctaveclassicalkeyboardregistralextremesformalemphasesandtonalstrategies-2013","role":"author","urls":{},"keyword":["music analysis"],"metadata":{"authorlinks":{}},"downloads":0},"bibtype":"article","biburl":"https://hmb.sampaio.me/bibliografia.bib.txt","creationDate":"2020-04-08T13:28:13.117Z","downloads":0,"keywords":["music analysis"],"search_terms":["franz","joseph","haydn","five","octave","classical","keyboard","registral","extremes","formal","emphases","tonal","strategies","mackay"],"title":"Franz Joseph Haydn and the Five-Octave Classical Keyboard: Registral Extremes, Formal Emphases and Tonal Strategies","year":2013,"dataSources":["n6MFY2CscQLDpJ7nT","RFLDZw5KyJdadDXDm"]}