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• W3201612549 abstract "There is a bit of deception, at once familiar andenjoyable, in the finale of Haydn’s Quartet, opus 33, number 2,which causes amusement every time it is heard. The uninitiatedlistener is thrown off guard while the initiated enjoys watchingthe former’s good natured embarrassment. Here is how the deceptionworks. Towards the end of the movement, after one of the manyreturns to the main theme of this rondo, Haydn introduces a fewmeasures of Adagio followed by the “a” theme of the quick tempo,this time spelled out a phrase at a time with two measures ofgeneral rest separating each phrase. Like students in a class inharmonic dictation we hear phrase one – two measures of rest (allfour instruments silent), phrase two– two measures of rest, phrasethree– two measures of rest, and then phrase four with anunmistakable final phrase; and this is really the end. InSiegfried’s Funeral Music from Wagner’s Twilight of the Gods, thereare long, solemn phrases between somber sounds, as though Time notmeasured off by sound were an Eternity, or No-Time. In the sixthmeasure of Debussy’s Prelude to the Afternoon of a Faun there is alanguorous wait before a reusing out of reverie. In Schubert’sUnfinished Symphony there is a tapering off at the end of thepassage where the violins have taken up the lyrical second themeafter its announcement by the cellos. The sound is left dangling onthe last half beat of the measure by virtue of the full measure ofG. P. which follows, which, in turn, is interrupted by a C minorchord, fortissimo-diminuendo and tremulant. The common ingredientin all these examples is a segment where all sound is stopped;there is a total silence in all voices, and the silence is of longenough duration that we are made aware of the silence for its ownsake. Reflection on this device as used in these particular pieces,and in others, stimulated the author’s curiosity as to howwidespread the use of silence is among composers, and as to howlong a history it has in instrumental music. Speculation as to thepossibility of classifying the musical situations under which suchsilences are encountered and noting trends of usage with individualcomposers or within entire periods has led to the presentinvestigation. Little need be added to the implication of thetitle as to the scope of this thesis, save, perhaps, that the term“instrumental” here includes keyboard works as well as works fororchestra, chamber music ensembles, and the like. Procedure is asfollows: Chapter I includes a discussion as to what constitutessilence in music, and a classification of silences based upon thepoints at which they occur in forms, the nature of the passages inwhich they are included, and the effects, subjective or otherwise,they may produce. Subsequent chapters deal with individualcomposers or with convenient groups of composers showing the manneror frequency of their use of this device. Statistical datacontained in this study is approximate and should be given broadinterpretation." @default.
• W3201612549 created "2021-09-27" @default.
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• W3201612549 date "2013-01-01" @default.
• W3201612549 modified "2023-09-27" @default.
• W3201612549 title "The use of silence in the instrumental works ofrepresentative composers: Baroque, classic, romantic" @default.
• W3201612549 hasPublicationYear "2013" @default.
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