121:) such a figure alone normally does not create significant motivic associations within a composition. Thus, it is more productive to focus on how "motivic parallelisms operate within individual pieces" rather than as symptoms of a tonal system. Burkhart finds that the motivic parallelisms of various surface motives and their "hidden repetitions" in middle-level segments are "much more unusual and interesting." An oft-cited example relates brief motives in the first two bars of Chopin's
131:, to larger spans: a neighbor-note figure that is also the frame of the melody in bars 1–16; and an arpeggiated chord that is also stretched across bars 1–45. As Burkhart notes, it is common—as in these examples—for the smaller motive to be nested inside the larger parallelism. The limit in breadth of such parallelisms may be found in another oft-cited example: Schubert's "
726:
714:
592:
According to Lauri Suurpää, Allen
Cadwallader does the opposite, arguing that "the origins of the motivic network of a specific piece can be traced to configurations so fundamental to the tonal system that they transcend individual works" (Lauri Suurpää, "The Path from Tonic to Dominant in the Second
94:
Burkhart is known for work on the relations between
Schenkerian readings, analysis of rhythm and meter, and implications for performance. Most of the compositions he discusses are for keyboard, especially Bach, Beethoven, and Chopin, but he has also written about opera
117:
parallelism"—when a motive in a small span of music (foreground) duplicates one covering a far longer span (background)—but because of its generality (and the abstract nature of the
776:
771:
111:
A frequently cited article is regarded as the "classic treatment" of motivic parallelisms in
Schenkerian analysis. Burkhart introduces the term "
86:. Among Burkhart's many students are Channan Willner, Stephen Lindeman, Stephen Slottow, Roy Nitzberg, William Renwick, and Gary S. Karpinski.
533:(Cambridge, 2015), p. 134n12. Others who have described the article as "classic" include James William Sobaskie ("Contextual Drama in Bach,"
171:
157:
751:
761:
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44/2 (2000): 454; referred work: Allen
Cadwallader, "Prolegomena to a General Description of Motivic Relationships in Tonal Music,"
514:
397:
756:
282:
766:
102:
39:
704:
47:
193:
135:", where Burkhart finds that two motives in the piano's introduction map onto the key sequence of the entire song.
122:
315:
214:
209:
497:
Burkhart, Charles; Ferris, David; Damschroder, David (2017). "Schumann: Three songs from
Liederkreis (op. 39)".
476:"Program from an Organ Concert at Goshen College in which Burkhart's Compositions were played by Bradley Lehman"
595:
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230:
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601:
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339:"The Suspenseful Structure of Brahms's C-major Capriccio, Op. 76, no. 8: A Schenkerian Hearing." In
535:
628:
575:
271:
451:
The music of the Old Order Amish and the Old Colony
Mennonites: A Contemporary Monodic Practice
352:
Burkhart's compositions include some organ preludes and choruses he has composed and arranged.
647:
510:
454:
403:
393:
326:
167:
166:. Co-authored with Allen Brings, Leo Kraft, Roger Kamien, and Drora Pershing. New York, 1979.
153:
382:
223:
Preludes, op. 28: An
Authoritative Score, Historical Background, Analysis, Views and Comments
718:
567:
502:
75:
71:
368:
626:
Deborah Stein, "Schubert's 'Erlkönig': Motivic
Parallelism and Motivic Transformation,"
388:
332:
43:
740:
475:
205:
97:
67:
55:
27:
343:, edited by David Beach and Yosef Goldenberg, 259–278. Rochester, New York, 2015.
336:, edited by L. Poundie Burstein and David Gagné, 5–18. Hillsdale, New York, 2006.
152:. Co-authored with William Rothstein (6th ed. on). New York, 1964; 7th ed. 2011.
542:
and
Michael Baker, "Aspects of Tonal Pairing in the Lieder of Robert Franz," in
546:, edited by Miloš Zatkalik, Milena Medić, and Denis Collins (2013), p. 358n25.
506:
23:
407:
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458:
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for the 2010 meeting of the Rocky
Mountain Chapter, College Music Society.
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31:
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The deaf woman's courtship : for women's chorus (S.S.A.) a cappella
275:
593:
Movement of Schubert's String Quintet and in Chopin's Fourth Ballade,"
35:
579:
322:, edited by Deborah Stein and William M. Marvin, 3–12. New York, 2005.
571:
672:. Southern Illinois University Special Collections Research Center
291:
Nineteenth-century Piano Music: Essays in Performance and Analysis
79:
697:
Southern Illinois University Special Collections Research Center
556:
Burkhart, Charles (1978). "Schenker's 'motivic parallelisms'".
387:
Structure and Meaning in Tonal Music: Festschrift in Honor of
331:
Structure and Meaning in Tonal Music: Festschrift in Honor of
248:, edited by David Beach, 95–112. New Haven, Connecticut, 1983.
221:"The Polyphonic Melodic Line of Chopin's B-minor Prelude." In
244:"Schenker's Theory of Levels and Musical Performance." In
78:, written in 1952, concentrated on the musical culture of
670:"Charles Burkhart collection of Nancy Cunard, 1951–1965"
308:
Commonweal: A Review of Religion, Politics, and Culture
251:"Departures from the Norm in Two Songs from Schumann's
341:
Bach to Brahms: Essays on Musical Design and Structure
702:
531:
Understanding the Leitmotif: From Wagner to Hollywood
237:"The Symmetrical Source of Webern's Opus 5, no. 4."
325:"The Two Curious Moments in Chopin's E-flat Major
225:, edited by Thomas Higgins, 80–88. New York, 1973.
38:. He holds the title of Professor Emeritus in the
293:, edited by David Witten, 95–116. New York, 1997.
259:, edited by Hedi Siegel, 146–164. New York, 1990.
383:"The Spirit and Technique of Schenker Pedagogy"
280:"Mid-bar Downbeat in Bach's Keyboard Music."
8:
385:. In Poundie Burstein; David Gagné (eds.).
544:Histories and Narratives of Music Analysis
470:
468:
381:Cadwallader, Allan; Gagné, David (2006).
50:. He is known especially as a scholar in
614:
320:Engaging Music: Essays in Music Analysis
709:
361:
289:"Chopin's 'Concluding Expansions'." In
646:. New York: Mercury Music Corp. 1962.
228:"Schenker's 'Motivic Parallelisms'."
7:
777:21st-century American male musicians
499:Harmony in Mendelssohn and Schumann
296:"Remembering David Kraehenbuehl."
164:A New Approach to Keyboard Harmony
22:(born 29 May 1928) is an American
14:
54:and as a successful lecturer and
16:American musicologist (born 1928)
724:
712:
283:Journal of Music Theory Pedagogy
262:"How Rhythm Tells the Story in '
184:"Stravinsky's Revolving Canon."
70:. He holds a M.Mus. degree from
314:"The Phrase Rhythm of Chopin's
772:21st-century American pianists
197:and solves metrical mystery."
150:Anthology for Musical Analysis
101:) and song cycles (Schumann's
1:
316:A-flat Mazurka, Op. 59, No. 2
246:Aspects of Schenkerian Theory
40:Aaron Copland School of Music
752:Yale School of Music alumni
305:"Meet David Kraehenbuehl."
48:City University of New York
46:, and the Graduate Center,
798:
449:Burkhart, Charles (1952).
66:Burkhart was a student of
529:Matthew Bribitzer-Stull,
507:10.1017/9781108284110.014
215:Perspectives of New Music
762:American music theorists
429:"Queens College Faculty"
757:Colorado College alumni
596:Journal of Music Theory
559:Journal of Music Theory
299:Journal of Music Theory
231:Journal of Music Theory
218:12/1–2 (1973): 141–172.
194:La Cathédrale engloutie
767:American male pianists
74:. His M.A. thesis for
234:22/2 (1978): 145–175.
84:Old Colony Mennonites
501:. pp. 146–170.
453:. Colorado College.
129:major, Op. 15, No. 2
52:Schenkerian analysis
617:, pp. 149–155.
536:Music Theory Online
268:Theory and Practice
264:LĂ ci darem la mano
188:, 29/3 (1968): 161.
179:Articles (selected)
629:19th-Century Music
270:16 (1991): 21–38.
693:Burkhart, Charles
632:13/2 (1989): 145.
478:. 30 October 2005
302:41/2 (1997): 183.
201:65 (1968): 14–16.
172:978-0-393-95001-4
158:978-0-495-91607-9
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68:Felix Salzer
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56:master class
24:musicologist
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782:1928 births
253:Liederkreis
104:Liederkreis
58:presenter.
741:Categories
566:(2): 153.
212:, no. 3."
719:Biography
676:August 1,
482:August 1,
434:August 1,
413:August 1,
408:224068728
210:of Op. 16
652:77288417
602:Intégral
276:41054244
133:Erlkönig
126:♯
106:, Op. 39
90:Research
32:composer
28:theorist
705:Portals
459:9250631
369:Program
327:Prelude
82:and of
36:pianist
650:
580:843395
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513:
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406:
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329:." In
318:." In
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255:." In
206:Farben
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119:Ursatz
114:Ursatz
62:Career
34:, and
641:e.g.
576:JSTOR
356:Notes
272:JSTOR
144:Books
678:2012
648:OCLC
511:ISBN
484:2012
455:OCLC
436:2012
415:2012
404:OCLC
394:ISBN
266:'."
168:ISBN
154:ISBN
695:",
568:doi
503:doi
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574:.
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509:.
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