Résumés
Abstract
This essay demonstrates that texture can act as a form-defining factor by focusing on one specific textural type: imitative polyphony. Mozart’s six quartets dedicated to Haydn illustrate this claim. Building on William Caplin’s form-functional theory and his distinction between tight-knit and loose organization, imitative texture is shown to serve two purposes: as a loosening device, and as a means of textural and phrase-structural contrast. To deepen our understanding of polyphony’s formal and expressive roles, two new concepts are proposed: contrast pair and imitative presentation. The contrast-pair principle is then explored in select Viennese quartets by Mozart’s contemporaries.
Résumé
Cet article montre que la texture peut fonctionner comme un facteur déterminant la forme, en se penchant sur le cas de la texture de la polyphonie en imitation, dont les six quatuors de Mozart dédiés à Haydn en sont des exemples. En se basant sur la théorie de la forme fonctionnelle de William Caplin et sur sa distinction entre l’organisation serrée et l’organisation libre, on y montre que la texture peut servir deux objectifs : alléger l’organisation, et créer un contraste de texture et de structure de phrase musicale. Afin de mieux comprendre les rôles formels et expressifs de la polyphonie, on y propose deux nouveaux concepts : la paire contrastante et la présentation en imitation. Le principe de paire contrastante est ensuite exploré dans une sélection de quatuors viennois de contemporains de Mozart.
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Biographical note
Olga (Ellen) Bakulina is pursuing her PhD in music theory at the Graduate Center, City University of New York. She has degrees from the College of the Moscow Tchaikovsky Conservatory, Russia (music theory and pedagogy, 2003) and from McGill University, Montreal (BMus, 2007 and MA, 2010). Her research interests include form and metre in tonal music, Schenkerian theory, theories of tonality, and the music of Sergei Rachmaninoff. Her dissertation explores tonality, harmony, and voice leading in Rachmaninoff’s Vespers, op. 37.
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