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in that a motif is foreground while a figure is background: "A figure resembles a moulding in architecture: it is 'open at both ends', so as to be endlessly repeatable. In hearing a phrase as a figure, rather than a motif, we are at the same time placing it in the background, even if it is...strong
360:
94:
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also agree that the motif may have harmonic, melodic and/or rhythmic aspects, Grove adding that it "is most often thought of in melodic terms, and it is this aspect of the motif that is connoted by the term 'figure'."
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Motivic saturation is the "immersion of a musical motif in a composition", i.e., keeping motifs and themes below the surface or playing with their identity, and has been used by composers including
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uses a distinct musical figure that is subsequently altered, repeated, or sequenced throughout a piece or section of a piece of music, guaranteeing its unity.
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achieved the highest elaboration of this technique; the famous "fate motif" âthe pattern of three short notes followed by one long oneâthat opens his
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defines a motif as, "a unit which contains one or more features of interval and rhythm presence is maintained in constant use throughout a piece".
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269:. A rhythmic motif is the term designating a characteristic rhythmic formula, an abstraction drawn from the rhythmic values of a melody.
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53:, a four-note figure becomes the most important motif of the work, extended melodically and harmonically to provide the main
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defines a motif as, "the smallest independent particle in a musical idea", which are recognizable through their repetition.
368:
White would classify the accompaniment as motivic material since it was, "derived from an important motive stated earlier".
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maintains that it may contain one or more cells, though it remains the smallest analyzable element or phrase within a
767:. Cambridge studies in music theory and analysis. Cambridge New York: Cambridge University press. pp. 146, 152.
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195:, musical fragment or succession of notes that has some special importance in or is characteristic of a
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and reappears throughout the work in surprising and refreshing permutations is a classic example.
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298:) is a musical idea at the opening of a set of movements which serves to unite those movements.
576:. Vol. 17. Stanley Sadie, John Tyrrell (2nd ed.). New York: Grove. pp. 227â228.
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defined in the abstract, that is, without reference to melody or rhythm. A melodic motif is a
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Gendering musical modernism: the music of Ruth
Crawford, Marion Bauer, and Miriam Gideon
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Das Wesen des musikalischen
Kunstwerks: Eine EinfĂŒhrung in Die Lehre Heinrich Schenkers
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821:. Music in the twentieth century. Cambridge: Cambridge University Press. p. 157.
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684:, 1987). Translated by Carolyn Abbate. Princeton, NJ: Princeton University Press.
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647:, 1987). Translated by Carolyn Abbate. Princeton, NJ: Princeton University Press.
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defines a motif as "the concrete content of a rhythmically basic time-unit."
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from film scores, associated with villains and ominous situations.
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that still maintains its identity as a musical idea. "The smallest
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Neff (1999), p. 59. Cited in
Campbell (2010), p. 157.
479:
which serves to unite those movements. It may also be called a
233:. It is commonly regarded as the shortest subdivision of a
1082:
934:
304:, however, suggests that a motif is distinguished from a
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Such motivic development has its roots in the keyboard
199:. The motif is the smallest structural unit possessing
608:
Music and discourse : toward a semiology of music
340:
A phrase originally presented as a motif may become a
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732:
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associated with a person, place, or idea is called a
219:
defines a motif as a "melodic, rhythmic, or harmonic
678:Music and Discourse: Toward a Semiology of Music
641:Music and Discourse: Toward a Semiology of Music
475:) refers to an opening musical idea of a set of
862:The New Grove Dictionary of Music and Musicians
792:Introduction to the Theory of Heinrich Schenker
611:. Princeton, N.J.: Princeton University Press.
573:The new Grove dictionary of music and musicians
1226:
1098:
950:
639:Both cited in Nattiez, Jean-Jacques (1990).
8:
312:Any motif may be used to construct complete
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851:Fallows, David (2001). "Head-motif". In
815:Webern (1963), pp. 25â26. Cited in
676:cited in Nattiez, Jean-Jacques (1990).
117:, notable for its length of seven notes.
919:. Englewood Cliffs, NJ: Prentice-Hall.
738:
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411:. The use of motifs is discussed in
7:
798:), p. 12. Trans. John Rothgeb.
265:, established without reference to
682:Musicologie générale et sémiologue
645:Musicologie générale et sémiologue
25:
1537:Formal sections in music analysis
284:. Occasionally such a motif is a
1505:
257:A harmonic motif is a series of
348:, as in the second movement of
289:
245:possessing thematic identity".
605:Nattiez, Jean-Jacques (1990).
483:, and is a frequent device in
27:Short recurring musical phrase
1:
415:' "The Lyceum of Schönberg".
819:Boulez, music and philosophy
710:Gorlinski, Virginia (2012).
80:Two note opening motif from
900:. Oxford: Clarendon press.
187:is a short musical idea, a
1558:
915:White, John David (1976).
344:which accompanies another
215:Encyclopédie de la Pléiade
29:
1503:
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1163:
1120:
972:
817:Campbell, Edward (2010).
763:Hisama, Ellie M. (2001).
570:Drabkin, William (2001).
865:(2nd ed.). London:
288:of the name involved. A
30:Not to be confused with
898:The aesthetics of music
896:Scruton, Roger (1997).
716:Encyclopedia Britannica
442:
369:
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226:Encyclopédie Fasquelle
225:
213:
156:
129:
102:
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36:Motif (disambiguation)
34:. For other uses, see
917:The analysis of music
674:Encyclopédie Larousse
426:
339:
223:", whereas the 1958
135:
108:
79:
44:
1317:Developing variation
1155:Schoenberg hexachord
867:Macmillan Publishers
1477:Thirty-two-bar form
1342:Formula composition
1130:C. F. E. BACH motif
712:"Idée fixe - music"
326:Musical development
1189:Musical cryptogram
510:Motif (literature)
443:
378:Domenico Scarlatti
370:
286:musical cryptogram
157:
144:, first movement.
130:
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74:
1514:
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1497:Verseâchorus form
1452:Sonata rondo form
1287:Call and response
1267:Ausmultiplikation
1208:
1207:
1080:
1079:
926:978-0-13-033233-2
907:978-0-19-816638-2
876:978-1-56159-239-5
828:978-0-521-86242-4
774:978-0-521-64030-5
753:, pp. 31â34.
548:, pp. 26â27.
458:Arnold Schoenberg
16:(Redirected from
1549:
1532:Rhythm and meter
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1482:Through-composed
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1169:Cruciform melody
1150:Sacher hexachord
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309:and melodious".
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398:Fifth Symphony
392:age. Arguably
354:String Quartet
350:Claude Debussy
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142:String Quartet
51:Fifth Symphony
26:
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18:Motive (music)
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857:Tyrrell, John
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804:0-582-28227-6
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788:Jonas, Oswald
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560:, p. 30.
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485:cyclic masses
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429:
428:"Curse" motif
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405:Miriam Gideon
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82:Jean Sibelius
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57:of the first
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43:
37:
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19:
1467:Ternary form
1371:
1352:Introduction
1242:Musical form
1179:Fortspinnung
1140:Dresden amen
1113:
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746:
739:Scruton 1997
719:. Retrieved
715:
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635:
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500:(psychology)
497:
472:
468:
467:
456:
452:Anton Webern
450:
446:Hugo Riemann
444:
413:Adolph Weiss
402:
371:
311:
300:
281:
274:thematically
271:
256:
210:
184:
165:
158:
85:
1447:Sonata form
1407:Post-chorus
1322:Development
1312:Cyclic form
1277:Binary form
1246:development
1135:Cross motif
889:Works cited
505:Motif (art)
419:Definitions
382:sonata form
197:composition
136:Motif from
109:Motif from
1521:Categories
1487:Transition
1417:Repetition
1402:Pre-chorus
1332:Exposition
1302:Conclusion
1145:DSCH motif
1125:BACH motif
751:White 1976
698:0691027145
690:0691091366
661:0691027145
653:0691091366
558:White 1976
546:White 1976
521:References
469:Head-motif
464:Head-motif
409:Donald Erb
290:head-motif
203:identity.
191:recurring
181:/moÊËtiËf/
1492:Variation
1357:Leitmotif
1257:Arch form
1184:Leitmotif
1062:Ululation
526:Citations
498:Idée fixe
477:movements
473:Kopfmotiv
471:(German:
394:Beethoven
295:Kopfmotiv
292:(German:
282:idée fixe
278:leitmotif
267:intervals
87:Finlandia
47:Beethoven
32:Leitmotif
1387:Overture
1382:Ostinato
1377:Movement
1272:Bar form
1262:Argument
1194:Ostinato
1058:(figure)
1041:Sequence
1026:Phrasing
1009:Ornament
989:Interval
978:Balungan
859:(eds.).
790:(1982).
627:21524730
592:44391762
491:See also
390:Mozart's
380:and the
356:(1893).
332:Examples
314:melodies
272:A motif
251:Larousse
201:thematic
59:movement
1442:Section
1422:Reprise
1021:Pattern
994:Melisma
984:Cadence
794:(1934:
374:sonatas
302:Scruton
231:subject
207:History
189:salient
111:Machaut
1542:Melody
1397:Phrase
1392:Period
1367:Melody
1337:Finale
1282:Bridge
1199:Pianto
1174:Figure
1114:Motifs
1051:Timbre
1036:Rhythm
966:Melody
923:
904:
873:
825:
802:
771:
696:
688:
659:
651:
625:
615:
590:
580:
346:melody
342:figure
322:pieces
318:themes
306:figure
259:chords
239:phrase
193:figure
185:motive
179:IPA: (
1472:Theme
1437:RondĂČ
1432:Rondo
1372:Motif
1307:Cycle
1067:Voice
1031:Pitch
1014:Trill
1004:Motif
721:6 May
672:1957
481:motto
386:Haydn
247:Grove
235:theme
183:) or
166:motif
162:music
138:Ravel
55:theme
1427:Riff
1362:Lick
1347:Hook
1327:Drop
1297:Coda
1292:Cell
1244:and
1056:Type
921:ISBN
902:ISBN
871:ISBN
823:ISBN
800:ISBN
769:ISBN
723:2023
694:ISBN
686:ISBN
657:ISBN
649:ISBN
623:OCLC
613:ISBN
588:OCLC
578:ISBN
515:Riff
436:Play
388:and
362:Play
320:and
249:and
221:cell
211:The
164:, a
150:Play
123:Play
115:Mass
96:Play
67:Play
384:of
376:of
352:'s
280:or
237:or
160:In
140:'s
113:'s
84:'s
49:'s
45:In
1523::
869:.
855:;
731:^
714:.
621:.
586:.
534:^
487:.
324:.
316:,
90:.
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1234:e
1227:t
1220:v
1106:e
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958:e
951:t
944:v
929:.
910:.
881:â
879:.
831:.
806:.
777:.
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692:/
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655:/
643:(
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38:.
20:)
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