Freakish Variations on a “Grand Cadence” Prototype in Haydn's String Quartets.
Notwithstanding the virtues of ensemble balance, decorum, and registral restraint with which the eighteenth-century string quartet is associated, Haydn's works in this medium sometimes call on the first violin to ascend to a musical stratosphere (above a2, an otherwise normal ceiling), often in conn...
| Publicado en: | Journal of Musicological Research Vol. 28; no. 2-3; pp. 119 - 146 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Apr2009
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=40933696&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 40933696 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 01411896 7WF jtl: Journal of Musicological Research issn: 01411896 maglogo: N pubinfo: dt: Apr2009 vid: 28 iid: 2-3 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 40933696 10.1080/01411890902913115 ppf: 119 ppct: 27 formats: fmt: – @attributes: type: T – @attributes: type: P size: 1.9MB tig: atl: Freakish Variations on a “Grand Cadence” Prototype in Haydn's String Quartets. aug: au: Grave, Floyd affil: Rutgers University, New Brunswick su: String quartets -- History & criticism Cadences (Music theory) Music Haydn, Joseph, 1732-1809 Aesthetics Musical composition Closure (Music theory) Composers Hyperbole sug: subj: String quartets -- History & criticism Cadences (Music theory) Music Haydn, Joseph, 1732-1809 Aesthetics Musical composition Closure (Music theory) Composers Hyperbole ab: Notwithstanding the virtues of ensemble balance, decorum, and registral restraint with which the eighteenth-century string quartet is associated, Haydn's works in this medium sometimes call on the first violin to ascend to a musical stratosphere (above a2, an otherwise normal ceiling), often in connection with whimsical variants of a standard formula that has been identified by Robert O. Gjerdingen as a galant-style “grand cadence.” In Haydn's apparent adaptations of the schema, its elements are sometimes subjected to comical exaggerations that have the effect of undermining rather than reinforcing the points of rhetorical climax and structural closure to which they are connected. The overdrawn climaxes and register-crossing leaps typically involved may be heard as object lessons in the dangers of hyperbole—of trying so hard as to become inappropriately absorbed in the exertion itself—and perhaps as part of the composer's effort to define boundaries of taste and propriety by the very act of overreaching at prominent junctures in a musical design. As they cast a withering light on performative extravagance, Haydn's cadence-formula excesses also serve to puncture any illusion of an unmediated aesthetic experience. Ironically, it is just as the first violin takes off into the highest regions that we find ourselves drawn down to earth. And here, through the music's ruptured facade, we may become freshly aware of the composer himself standing before us—not to prohibit us from enjoying the charm of an all-enveloping artistic illusion, but to promote an enlightened awareness of the artifice in which the illusion is grounded. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Journal of Musicological Research is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Journal of Musicological Research holder: Taylor & Francis Ltd dt: @attributes: year: 2009 holdings: @attributes: islocal: N |
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