In this article we explore Fanny Hensel’s songs that end without cadences but instead with what William Caplin (2018) calls “prolongational closure.” These songs, most of which come from the 1820s, are some of the earliest examples of piece-ending prolongational closure in the repertoire and thus offer important models for understanding how the technique was deployed by later composers. We propose three types of prolongational closure, drawn from a study of Hensel’s works—".fn_scaledegree(5)."–".fn_scaledegree(1)." fill, dominant substitution, and early pedal—and suggest that Hensel’s fascination with non-cadential endings offers yet more evidence that she was one of the most inventive composers in the first half of the nineteenth century.
{"title":"Prolongational Closure in the Lieder of Fanny Hensel","authors":"Stephen Rodgers, Tyler Osborne","doi":"10.30535/MTO.26.3.8","DOIUrl":"https://doi.org/10.30535/MTO.26.3.8","url":null,"abstract":"In this article we explore Fanny Hensel’s songs that end without cadences but instead with what William Caplin (2018) calls “prolongational closure.” These songs, most of which come from the 1820s, are some of the earliest examples of piece-ending prolongational closure in the repertoire and thus offer important models for understanding how the technique was deployed by later composers. We propose three types of prolongational closure, drawn from a study of Hensel’s works—\".fn_scaledegree(5).\"–\".fn_scaledegree(1).\" fill, dominant substitution, and early pedal—and suggest that Hensel’s fascination with non-cadential endings offers yet more evidence that she was one of the most inventive composers in the first half of the nineteenth century.","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":" ","pages":""},"PeriodicalIF":0.8,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43956748","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
[1] Keith Waters’s Postbop Jazz in the 1960s (2019) brings together more than two decades of work by one of the most prolific jazz scholars in music theory. Over the course of his academic career, Waters has focused consistently on the practices of a particular set of jazz musicians in the 1960s. During this period, the output of musicians like Miles Davis, Wayne Shorter, Herbie Hancock, and Chick Corea often blended elements of tonal jazz from earlier decades—including bebop, hard bop, and soul jazz—with features of emergent modal and free (or avant-garde) jazz practices. Waters and others use the term postbop to refer to the compositional and improvisational tendencies that emerged from this confluence, which are exemplified by a small but influential repertoire of jazz compositions and associated recordings.(1) His enduring engagement with this music has yielded a series of widely cited publications. While a few of these studies broadly address improvisational (2013) or harmonic (Waters and Williams 2010) strategies, most confront analytical or methodological issues through the lens of a specific musician’s output. These include examinations of form and metric displacement in improvisations by Hancock and Keith Jarre (1996, 2001), nonfunctional harmony in compositions by Hancock (2005) and Corea (2016), the influence of the ic4 cycles in John Coltrane’s “Giant Steps” on postbop composers (2010), and improvisatory practices in Miles Davis’s celebrated second quintet (2003, 2011).(2)
{"title":"Review of Keith Waters, Postbop Jazz in the 1960s: The Compositions of Wayne Shorter, Herbie Hancock, and Chick Corea (Oxford University Press, 2019)","authors":"Ben Baker","doi":"10.30535/MTO.26.3.14","DOIUrl":"https://doi.org/10.30535/MTO.26.3.14","url":null,"abstract":"[1] Keith Waters’s Postbop Jazz in the 1960s (2019) brings together more than two decades of work by one of the most prolific jazz scholars in music theory. Over the course of his academic career, Waters has focused consistently on the practices of a particular set of jazz musicians in the 1960s. During this period, the output of musicians like Miles Davis, Wayne Shorter, Herbie Hancock, and Chick Corea often blended elements of tonal jazz from earlier decades—including bebop, hard bop, and soul jazz—with features of emergent modal and free (or avant-garde) jazz practices. Waters and others use the term postbop to refer to the compositional and improvisational tendencies that emerged from this confluence, which are exemplified by a small but influential repertoire of jazz compositions and associated recordings.(1) His enduring engagement with this music has yielded a series of widely cited publications. While a few of these studies broadly address improvisational (2013) or harmonic (Waters and Williams 2010) strategies, most confront analytical or methodological issues through the lens of a specific musician’s output. These include examinations of form and metric displacement in improvisations by Hancock and Keith Jarre (1996, 2001), nonfunctional harmony in compositions by Hancock (2005) and Corea (2016), the influence of the ic4 cycles in John Coltrane’s “Giant Steps” on postbop composers (2010), and improvisatory practices in Miles Davis’s celebrated second quintet (2003, 2011).(2)","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":" ","pages":""},"PeriodicalIF":0.8,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45756040","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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