Abstracts
Abstract
Barrie Cabena’s Sonata Festiva (1971) highlights SLIDE, a chord progression familiar from the neo-Riemannian and twentieth-century Russian music-theoretic literatures. Diverse expressions of SLIDE involve chord pairs, single chords, and melodic lines in textural, tonal, and formal contexts, leading to contemplative, energetic, comedic, and triumphant effects. Aspects of pitch-class set theory help to relate SLIDE to other harmonic phenomena in the work.
Keywords:
- Barrie Cabena,
- Sonata Festiva,
- SLIDE,
- neo-Riemannian theory,
- set theory
Résumé
La Sonata Festiva (1971) de Barrie Cabena met en lumière SLIDE, une progression d’accords connue des littératures musicales théoriques néo-riemanniennes et russes du XXe siècle. Les expressions diverses de SLIDE impliquent notamment des paires d’accords, des accords simples et des lignes mélodiques dans des contextes texturaux, tonals et formels, conduisant à des effets contemplatifs, énergiques, comiques et triomphants. Certains aspects de la théorie des ensembles aident à relier SLIDE à d’autres phénomènes harmoniques dans l’oeuvre.
Mots-clés :
- Barrie Cabena,
- Sonata Festiva,
- SLIDE,
- théorie néo-riemannienne,
- théorie des ensembles
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Appendices
Biographical note
Mark Sallmen is an Associate Professor (teaching stream) of music theory in the Faculty of Music at the University of Toronto. He teaches music theory and musical skills courses in the undergraduate core curriculum, as well as upper-level undergraduate and graduate seminars in post-tonal music topics. Other published work involves the music of Schoenberg, Webern, and Carter, and the pedagogy of twentieth-century music.
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