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<TITLE>RE: [Smt-talk] Altered pitch, preserved contour</TITLE>
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<P><FONT SIZE=2>Offhand, I'd say that the phenomenon is so common that it goes largely unnoticed (or at least unnamed). In sonata-form movements, for example, a normal part of "motivische Arbeit" is to preserve the rhythm and contour of a motive but alter the size of its intervals, in conformity with the prevailing harmonic action. And, in fugal theory, one does have a standard name for one such standard alteration: tonal answer (vs. real answer).<BR>
<BR>
Maybe I haven't understood your point.<BR>
<BR>
Ralph Locke<BR>
<BR>
Ralph P. Locke<BR>
Professor of Musicology<BR>
26 Gibbs St.<BR>
Rochester NY 14604-2599 USA<BR>
Tel.: 585-274-1455<BR>
Fax: 585-274-1088 ("for R. Locke")<BR>
RLocke@esm.rochester.edu<BR>
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-----Original Message-----<BR>
From: smt-talk-bounces@societymusictheory.org on behalf of Richard Lewis<BR>
Sent: Wed 5/20/2009 6:23 AM<BR>
To: smt-talk@societymusictheory.org<BR>
Subject: [Smt-talk] Altered pitch, preserved contour<BR>
<BR>
Can anyone think if there's an accepted term to describe the<BR>
phenomenon where some musical material is stretched in pitch (making<BR>
the intervals bigger but preserving the contour). The first thing that<BR>
comes to mind is 'augmentation', but this is usually only applied to<BR>
rhythmic alteration.<BR>
<BR>
I suspect that, as this phenomenon is not common in the Western canon,<BR>
it may have escaped categorisation by the early C20th arbiters of<BR>
music theory. Though I'd be happy to be proved wrong.<BR>
<BR>
Best wishes,<BR>
Richard<BR>
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Richard Lewis<BR>
ISMS, Computing<BR>
Goldsmiths, University of London<BR>
Tel: +44 (0)20 7078 5134<BR>
Skype: richardjlewis<BR>
JID: ironchicken@jabber.earth.li<BR>
<A HREF="http://www.richard-lewis.me.uk/">http://www.richard-lewis.me.uk/</A><BR>
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