R egister in H aydn's S tring Q uartets
F our C ase S tudies
Bibliographic Data
| ID | 11445865 |
|---|---|
| Authors | Nancy November (0000-0003-0625-5525, Cornell University, corresponding author) |
| Year | 2007 |
| Volume | 26 |
| Issue | 3 |
| Pages | 289-322 |
| Publication date | 2007-10-01 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Music Analysis (JOURNAL) |
| Journal identifiers | ISSN: 0262-5245 • E-ISSN: 1468-2249 |
| Publisher | Wiley (PUBLISHER • GB) |
| DOI | 10.1111/j.1468-2249.2008.00260.x |
| OpenAlex | W2075042045 |
| Language | EN |
| References cited | 2 |
This study argues that register – a neglected subject of music analysis – assumes the status of a primary parameter in Haydn's string quartets. The claim is substantiated with four case studies. The first movement of Op. 9 No. 4 exemplifies registral techniques that Haydn deployed and developed throughout his career as a quartet composer. Op. 20 No. 2 uses register as a main topic of compositional discourse, and as a means of establishing large‐scale connections both within and between movements. The first movement of Op. 76 No. 5 employs register to create stability as well as instability, while the finale of Op. 74 No. 2 epitomises the paradox that registral destabilisation may help to create large‐scale coherence
Mathematics · Music Technology and Sound Studies · Musicology and Musical Analysis · Neuroscience and Music Perception
| Highly cited | No |
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