ABSTRACT This essay examines the fragmentary nature of Beethoven's late style from a form‐functional perspective. Extensive analyses of four passages featuring sudden mid‐theme breaks show how the widely contrasting materials that lie on either side of these gaps can come together to form a complete thematic unit. In each case the resulting thematic unit has the same set of beginning, medial and cadential formal functions found within a Classical‐style theme, but its intra‐thematic functions are articulated by materials so disjointed and dissimilar that these appear to belong to separate themes rather than to a single one.
ABSTRACT Joropo , a Colombian and Venezuelan folk genre, frequently employs simultaneous and successive multi‐level hemiolas, which are often displaced from one another – features which existing models of rhythmic dissonance cannot concisely account for. This article integrates Richard Cohn's theory of hemiolic metric spaces (2001) and Harald Krebs's concept of displacement dissonance (1999), developing a blended analytical model that more effectively captures the complex relationships between metric states used in joropo music and dance. Through analyses of recorded joropo performances by Palo Cruza'o and Grupo Cimarrón and of a dance performance from the 2017 Torneo Internacional de Joropo (International Tournament of Joropo ), the article demonstrates that while some aspects of the rhythmic play are rooted in the genre's basic patterns, performances often extend far beyond these foundations, creating virtuosic and highly intricate rhythmic textures. In addition to highlighting the rhythmic richness of joropo , the proposed approach suggests broader applicability for analysing syncopated hemiolas in other repertoires, contributing to ongoing discussions of rhythm, meter and performance practice in a wider range of musical traditions.
ABSTRACT Frédéric Chopin adhered to traditional practices in musical form to a far greater extent than hitherto acknowledged. He took certain standard formal paths with remarkable consistency throughout his compositional career and across almost all his favoured genres. His choices were grounded in eighteenth‐century routines concerning intra‐thematic functions and schemata. Chopin pursued alterations and adaptations of those formal patterns, a path that resulted in a kaleidoscopic range of variants, and in this way presented his compositions in a guise amenable to Romantic taste. This article captures Chopin's craft of musical form by means of data drawn from a broad survey of his works, presented in tables and supported by discussion of his practices and preferences. The main focus in on Chopin's treatment of the compound period and his positioning of Fonte and Monte schemata in relation to implicit small binary forms. Chopin stands out as a musician engaged with the aesthetic concerns of Romanticism but from a traditionalist starting point. He maintained a craft ethos as regards musical form which points to broad continuities linking eighteenth‐century compositional practices with later genres of popular music. In exploring these issues, this article aims to unravel something of the legacy of idealism for our understanding of nineteenth‐century music.
