Musical Motives. A Theory and method for Analysing shape in music

Cover
Half-Title
Title
Copyright
Dedication
Contents
Acknowledgments
About the Companion Website
PART I: The Grounds for a Discipline  of Motivic Analysis
	1. Introduction to Motives
		Motives Play a Central Role in Music
		How Motives Move and Move.Us
		“Musical Motives”
	2. A Brief History of Motives—.Composition
		Motive as a Style Element of Music
		Early Developments
		Motives in Ascendance: Compositional Practice, c. 1750–.1900
		More Recent Developments
		Further Thoughts on Surveying Motives in Composition
	3. A History of Motives—.Theory and Analysis
		Origins of the Musical Motive Concept, 1600–.1750
		The Rise of Melodielehre, 1750–.1890
		Schoenberg’s Conservative and Radical Conceptions of Motive
		Unintended Legacy: A New Concept of Motive Develops in the Twentieth Century
		An Account of Present-.Day Motivic Analytical Techniques
		Summary: The Bridge to Part II, Methods of Motivic Analysis
PART II: Methods of Motivic Analysis
	4. A Universal Nomenclature for Pitch and Rhythm Motives
		Rules for Labeling Pitch and Pitch-.Class Motives
		Rules for Labeling Rhythmic Motives
	5. Basic Motivic Analysis
		Principles of Reduction
		Principles for Linking Motives
		Assembling Analysis: Preliminary Narrative Strategies
	Interlude 1: BMA Narrative Archetypes
		Theoretical Justification for Framing Motivic Analyses  as Narratives
		The Four BMA Narrative Archetypes
	6. Exemplars of Basic Motivic Analysis
		A Pitch and Pitch-.Class BMA of Beethoven’s Op. 2,  No. 1, Movement.I
		A Rhythmic BMA of Beethoven’s Op. 10, No. 1, Movement III
	Interlude 2: CMA Narrative Archetypes
		New Freedoms on the Focal Point’s Content and Location
		Summary of BMA and CMA Narratives
	7. Complex Motivic Analysis
		Introduction: A Rationale for CMA
		Formalizing Complex Motives
		Complex Motive Assembly
		The Paired End Products of CMA: Organic Map and Narrative
		Conclusion to the Methodology Area
PART III: Analyses and Conclusion
	8. Analysis of Three Works in Contrasting Styles
		“L’Ondine,” Op. 101, by Cécile Chaminade
		“Paranoid Android,” by Radiohead
		“At the Ballet,” by Marvin Hamlisch
	9. Conclusion
		Motivic Theory in Context
		What Motives May and May Not.Be
		The Persistent Limitations and Future Promise of Motivic Analysis
Notes
Bibliography
Index