Musical Forces and Melodic Patterns

number of recent papers and presentations suggest that "musical forces" play an important role in musical experience1. This article argues that musical forces are an embodied metaphor of the type described by Mark Johnson; that viewing them in this way allows us to use them to generate a well-defined set of three-, five-, and seven-note patterns; and that these patterns are privileged in tonal music. A comparison of that set with patterns discussed in published accounts of hidden repetition in tonal music, with patterns said to structure J. S. Bach's fugue expositions, and with Schenkerian backgrounds and first-level middlegrounds offers strong support for that claim.

[1]  Allen Forte,et al.  Motive and Rhythmic Contour in the Alto Rhapsody , 1983 .

[2]  F. E. Maus,et al.  Music as Drama , 1988 .

[3]  David Neumeyer Organic structure and the song cycle: Another look at schumann's dichterliebe , 1982 .

[4]  Charles J. Burkhart,et al.  Schenker's "Motivic Parallelisms" , 1978 .

[5]  J. Lester Articulation of Tonal Structures as a Criterion for Analytic Choices , 1979 .

[6]  D. Deutsch,et al.  The Internal Representation of Pitch Sequences in Tonal Music , 1981 .

[7]  Steve Larson SWING AND MOTIVE IN THREE PERFORMANCES BY OSCAR PETERSON , 1999 .

[8]  W. Berry On Structural Levels in Music , 1980 .

[9]  A. Cadwallader,et al.  SCHENKER'S HIGH-LEVEL MOTIVES , 1992 .

[10]  Bruce B. Campbell Oswald Jonas. Introduction to the Theory of Heinrich Schenker: The Nature of the Musical Work of Art. Translated and edited by John Rothgeb. New York: Longman, 1982 , 1983 .

[11]  Janet Schmalfeldt,et al.  On the Relation of Analysis to Performance: Beethoven's "Bagatelles" Op. 126, Nos. 2 and 5 , 1985 .

[12]  Allen Cadwallader,et al.  Foreground Motivic Ambiguity: Its Clarification at Middleground Levels in Selected Late Piano Pieces of Johannes Brahms , 1988 .

[13]  Rudolf Arnheim Perceptual Dynamics in Musical Expression , 1984 .

[14]  Allen Cadwallader Schenker's Unpublished Graphic Analysis of Brahms's Intermezzo Op. 117, No. 2: Tonal Structure and Concealed Motivic Repetition , 1984 .

[15]  Patricia Carpenter,et al.  Grundgestalt as Tonal Function , 1983 .