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- W4327637259 abstract "THE WORD “MOTIVE” has acquired multiple meanings over the years, and thus it seems prudent to attempt a definition of the term and, by doing so, to clarify its meanings. In its broadest meaning, a motive is a musical idea that is repeated in the course of a composition. Where theorists in the past have differed is in the nature of the idea and, for that matter, in the nature of its repetitions. As a starting point, we might distinguish between two basic types of motive, the rhythmic motive and the pitch motive. Though a rhythmic idea can be subjected to augmentation and/or diminution in the course of a work, repetitions are most often at the same level. Undoubtedly the most famous example of this phenomenon in the classical literature is the rhythmic motive that pervades Beethoven's Fifth Symphony. While this idea is associated with specific pitches at specific points in the composition, it is the rhythm, not the pitch, that defines it as a motivic idea. We have, in fact, already encountered a rhythmic motive in our brief discussion of the Toccata from Partita VI (BWV 830) in chapter 1. The dotted rhythmic figure that opens the partita is repeated within the outer sections of the Toccata itself and reappears in different guises in the Allemanda and Sarabande." @default.
- W4327637259 created "2023-03-18" @default.
- W4327637259 date "2005-11-01" @default.
- W4327637259 modified "2023-09-29" @default.
- W4327637259 title "Motivic Parallels" @default.
- W4327637259 doi "https://doi.org/10.1017/9781580466479.004" @default.
- W4327637259 hasPublicationYear "2005" @default.
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