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- W81454113 abstract "Chromatic mediant relations are, of course, not exclusive to nineteenth-century music. Their presence in Renaissance music is familiar. In Baroque style they often occur at the boundaries between large sections of pieces, as a half cadence resolving to an unexpected new tonic. Similarly in the music of Haydn and Mozart, they appear most often as major-third mediants at the boundaries between sections in a minuet or scherzo. Between or within phrases, though, they are exceptional. In Beethoven's and Schubert's music, chromatic mediants began to appear with greater regularity and to find their way into more local harmonic contexts. As their presence grew and their profile became more familiar, chromatic third relations gradually became an accepted and much-exploited aspect of nineteenth-century harmonic practice. It is this normative practice which will be examined throughout the following chapters." @default.
- W81454113 created "2016-06-24" @default.
- W81454113 date "2002-10-31" @default.
- W81454113 modified "2023-09-25" @default.
- W81454113 title "Three examples of functional chromatic mediant relations in Schubert" @default.
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- W81454113 doi "https://doi.org/10.1017/cbo9780511481932.003" @default.
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