• Gershwin's Surface Motivic Repetitions with Hidden Sources---examples

    Author(s):
    Arthur Maisel (see profile)
    Date:
    2018
    Subject(s):
    Music analysis
    Item Type:
    Article
    Tag(s):
    George Gershwin
    Permanent URL:
    https://doi.org/10.17613/M6PZ5W
    Abstract:
    The norm of large-scale composition is for a motive to be established on the surface and then for there to be hidden repetition, whether the camouflage takes the form of ornamentation or augmentation. George Gershwin’s music, however, has a number of notable reversals of this norm of motivic presentation, and his well-known reliance on improvisation as a compositional tool might be the most likely explanation. One can imagine an improviser “analyzing” on the fly, so to speak, and then bringing middleground features to the surface. On-the-fly analysis is not what Schenker meant by “aural flight,” but it is consistent with the idea.
    Metadata:
    xml
    Status:
    Last Updated:
    6 years ago
    License:
    Attribution-NonCommercial

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