Form, Program, and Metaphor in the Music of Berlioz by Stephen Rodgers
By Stephen Rodgers
Few points of Berlioz's kind are extra idiosyncratic than his dealing with of musical shape. This ebook, the 1st committed completely to the subject, explores how his formal options are with regards to the poetic and dramatic sentiments that have been his very cause of being. Rodgers attracts upon Berlioz's rules approximately musical illustration and at the rules that will have encouraged him, arguing that the connection among musical and extra-musical narrative in Berlioz's tune is healthier construed as metaphorical instead of literal - 'intimate' yet 'indirect' in Berlioz's phrases. targeting a kind of varied-repetitive shape that Berlioz used to awaken poetic principles corresponding to mania, obsession, and meditation, the e-book indicates how, faraway from brushing aside shape whilst pushing the bounds of musical evocation, Berlioz harnessed its powers to show those rules much more vividly.
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Extra resources for Form, Program, and Metaphor in the Music of Berlioz
Sample text
Although B begins in a contrasting tonal area (B major), its melody proceeds at the same slow tempo, uses the same note values, and is the same length as A’s (each melody lasts eight measures, though the full phrases in A are properly ten measures long since they end with two measures of the C bell tone). We might say that melodic, rhythmic, and even hypermetrical structure is thus retained from section A to section B, if tonal structure is not. Furthermore, B is composed of the same motivic units as the opening phrase of A, albeit reordered.
3 provides one possible overview of the movement’s large-scale form, and Ex. 7 shows the opening phrase of each main section for reference, labeled A, B, C, and D. Each section unfolds in a series of short thematic cycles rather like those in the Dies irae and the Roi Lear overture, denoted x1, x2, x3, and so forth in each section – or, if one chooses, first time, second time, third time, and so forth. Key areas are given with letter names; certain progressions within keys are provided in parentheses.
17–24 from D major into G major that 27 28 Preliminary examples and recent theories Ex. 4 Ballet des sylphes, B and A0 melodies compared finally produces the consequent phrase we have been expecting. Still, if this “consequent” phrase forestalls the whirling force of the measures that precede it, the sense of closure is hardly decisive. Measures 47–8 present not so much a cadence as an awkward halt on a melodic pitch. B-flat major assumes the role of quasi-tonic not by virtue of a functional harmonic progression (the passage ends with vi–I) but only because the pitch Bb is repeated and a rest follows it.