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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
349:
83:
137:
242:
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'."
110:
423:
54:
392:
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
160:
317:
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.
385:
achieved the highest elaboration of this technique; the famous "fate motif" âthe pattern of three short notes followed by one long oneâthat opens his
449:
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".
850:
235:
258:. 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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42:, a four-note figure becomes the most important motif of the work, extended melodically and harmonically to provide the main
443:
defines a motif as, "the smallest independent particle in a musical idea", which are recognizable through their repetition.
357:
White would classify the accompaniment as motivic material since it was, "derived from an important motive stated earlier".
218:
maintains that it may contain one or more cells, though it remains the smallest analyzable element or phrase within a
792:
756:. Cambridge studies in music theory and analysis. Cambridge New York: Cambridge University press. pp. 146, 152.
605:
570:
945:
203:
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184:, 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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177:
287:) is a musical idea at the opening of a set of movements which serves to unite those movements.
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565:. Vol. 17. Stanley Sadie, John Tyrrell (2nd ed.). New York: Grove. pp. 227â228.
469:
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24:
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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
121:
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785:
Das Wesen des musikalischen
Kunstwerks: Eine EinfĂŒhrung in Die Lehre Heinrich Schenkers
498:
366:
274:
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810:. Music in the twentieth century. Cambridge: Cambridge University Press. p. 157.
1495:
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673:, 1987). Translated by Carolyn Abbate. Princeton, NJ: Princeton University Press.
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636:, 1987). Translated by Carolyn Abbate. Princeton, NJ: Princeton University Press.
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396:, as in "Night is my Sister" (1952) and "Fantasy on a Javanese Motif" (1958), and
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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
30:
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1355:
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Neff (1999), p. 59. Cited in
Campbell (2010), p. 157.
468:
which serves to unite those movements. It may also be called a
412:
362:
334:
302:
1420:
150:
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503:
222:. It is commonly regarded as the shortest subdivision of a
1071:
923:
293:, however, suggests that a motif is distinguished from a
530:
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524:
361:
Such motivic development has its roots in the keyboard
188:. The motif is the smallest structural unit possessing
597:
Music and discourse : toward a semiology of music
329:
A phrase originally presented as a motif may become a
733:
723:
721:
521:
265:
associated with a person, place, or idea is called a
208:
defines a motif as a "melodic, rhythmic, or harmonic
718:
540:
1507:
1229:
667:Music and Discourse: Toward a Semiology of Music
630:Music and Discourse: Toward a Semiology of Music
464:) refers to an opening musical idea of a set of
851:The New Grove Dictionary of Music and Musicians
781:Introduction to the Theory of Heinrich Schenker
600:. Princeton, N.J.: Princeton University Press.
562:The new Grove dictionary of music and musicians
1215:
1087:
939:
628:Both cited in Nattiez, Jean-Jacques (1990).
301:Any motif may be used to construct complete
282:
213:
201:
1222:
1208:
1094:
1080:
946:
932:
698:
840:Fallows, David (2001). "Head-motif". In
805:
804:Webern (1963), pp. 25â26. Cited in
665:cited in Nattiez, Jean-Jacques (1990).
411:
324:
120:
106:, notable for its length of seven notes.
93:
64:
29:
908:. Englewood Cliffs, NJ: Prentice-Hall.
884:
839:
727:
593:
558:
1508:
751:
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1075:
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903:
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546:
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400:. The use of motifs is discussed in
787:), p. 12. Trans. John Rothgeb.
254:, established without reference to
13:
671:Musicologie générale et sémiologue
634:Musicologie générale et sémiologue
14:
1542:
1526:Formal sections in music analysis
273:. Occasionally such a motif is a
1494:
246:A harmonic motif is a series of
833:
824:
798:
770:
745:
337:, as in the second movement of
278:
234:possessing thematic identity".
877:
692:
655:
622:
594:Nattiez, Jean-Jacques (1990).
587:
552:
472:, and is a frequent device in
407:
16:Short recurring musical phrase
1:
509:
452:
404:' "The Lyceum of Schönberg".
808:Boulez, music and philosophy
699:Gorlinski, Virginia (2012).
514:
69:Two note opening motif from
7:
889:. Oxford: Clarendon press.
479:
320:
176:is a short musical idea, a
10:
1547:
1101:
953:
904:White, John David (1976).
333:which accompanies another
204:Encyclopédie de la Pléiade
195:
18:
1492:
1241:
1152:
1109:
961:
806:Campbell, Edward (2010).
752:Hisama, Ellie M. (2001).
559:Drabkin, William (2001).
854:(2nd ed.). London:
277:of the name involved. A
19:Not to be confused with
887:The aesthetics of music
885:Scruton, Roger (1997).
705:Encyclopedia Britannica
431:
358:
283:
215:Encyclopédie Fasquelle
214:
202:
145:
118:
91:
62:
25:Motif (disambiguation)
23:. For other uses, see
906:The analysis of music
663:Encyclopédie Larousse
415:
328:
212:", whereas the 1958
124:
97:
68:
33:
1306:Developing variation
1144:Schoenberg hexachord
856:Macmillan Publishers
1466:Thirty-two-bar form
1331:Formula composition
1119:C. F. E. BACH motif
701:"Idée fixe - music"
315:Musical development
1178:Musical cryptogram
499:Motif (literature)
432:
367:Domenico Scarlatti
359:
275:musical cryptogram
146:
133:, first movement.
119:
92:
63:
1503:
1502:
1486:Verseâchorus form
1441:Sonata rondo form
1276:Call and response
1256:Ausmultiplikation
1197:
1196:
1069:
1068:
915:978-0-13-033233-2
896:978-0-19-816638-2
865:978-1-56159-239-5
817:978-0-521-86242-4
763:978-0-521-64030-5
742:, pp. 31â34.
537:, pp. 26â27.
447:Arnold Schoenberg
1538:
1521:Rhythm and meter
1498:
1471:Through-composed
1224:
1217:
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1158:Cruciform melody
1139:Sacher hexachord
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298:and melodious".
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1035:Steps and skips
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252:melodic formula
232:structural unit
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162:(pronunciation)
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1516:Motifs (music)
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1401:Recapitulation
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387:Fifth Symphony
381:age. Arguably
343:String Quartet
339:Claude Debussy
322:
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131:String Quartet
40:Fifth Symphony
15:
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1451:Strophic form
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1061:Voice leading
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846:Tyrrell, John
843:
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793:0-582-28227-6
790:
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777:Jonas, Oswald
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572:1-56159-239-0
568:
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549:, p. 30.
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475:
474:cyclic masses
471:
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459:
450:
448:
444:
442:
438:
436:
427:
418:
417:"Curse" motif
414:
405:
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399:
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394:Miriam Gideon
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71:Jean Sibelius
67:
58:
49:
46:of the first
45:
41:
37:
32:
26:
22:
1456:Ternary form
1360:
1341:Introduction
1231:Musical form
1168:Fortspinnung
1129:Dresden amen
1102:
992:
965:
905:
886:
849:
835:
826:
807:
800:
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753:
747:
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728:Scruton 1997
708:. Retrieved
704:
694:
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633:
629:
624:
596:
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561:
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489:(psychology)
486:
461:
457:
456:
445:
441:Anton Webern
439:
435:Hugo Riemann
433:
402:Adolph Weiss
391:
360:
300:
289:
270:
263:thematically
260:
245:
199:
173:
154:
147:
74:
1436:Sonata form
1396:Post-chorus
1311:Development
1301:Cyclic form
1266:Binary form
1235:development
1124:Cross motif
878:Works cited
494:Motif (art)
408:Definitions
371:sonata form
186:composition
125:Motif from
98:Motif from
1510:Categories
1476:Transition
1406:Repetition
1391:Pre-chorus
1321:Exposition
1291:Conclusion
1134:DSCH motif
1114:BACH motif
740:White 1976
687:0691027145
679:0691091366
650:0691027145
642:0691091366
547:White 1976
535:White 1976
510:References
458:Head-motif
453:Head-motif
398:Donald Erb
279:head-motif
192:identity.
180:recurring
170:/moÊËtiËf/
1481:Variation
1346:Leitmotif
1246:Arch form
1173:Leitmotif
1051:Ululation
515:Citations
487:Idée fixe
466:movements
462:Kopfmotiv
460:(German:
383:Beethoven
284:Kopfmotiv
281:(German:
271:idée fixe
267:leitmotif
256:intervals
76:Finlandia
36:Beethoven
21:Leitmotif
1376:Overture
1371:Ostinato
1366:Movement
1261:Bar form
1251:Argument
1183:Ostinato
1047:(figure)
1030:Sequence
1015:Phrasing
998:Ornament
978:Interval
967:Balungan
848:(eds.).
779:(1982).
616:21524730
581:44391762
480:See also
379:Mozart's
369:and the
345:(1893).
321:Examples
303:melodies
261:A motif
240:Larousse
190:thematic
48:movement
1431:Section
1411:Reprise
1010:Pattern
983:Melisma
973:Cadence
783:(1934:
363:sonatas
291:Scruton
220:subject
196:History
178:salient
100:Machaut
1531:Melody
1386:Phrase
1381:Period
1356:Melody
1326:Finale
1271:Bridge
1188:Pianto
1163:Figure
1103:Motifs
1040:Timbre
1025:Rhythm
955:Melody
912:
893:
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685:
677:
648:
640:
614:
604:
579:
569:
335:melody
331:figure
311:pieces
307:themes
295:figure
248:chords
228:phrase
182:figure
174:motive
168:IPA: (
1461:Theme
1426:RondĂČ
1421:Rondo
1361:Motif
1296:Cycle
1056:Voice
1020:Pitch
1003:Trill
993:Motif
710:6 May
661:1957
470:motto
375:Haydn
236:Grove
224:theme
172:) or
155:motif
151:music
127:Ravel
44:theme
1416:Riff
1351:Lick
1336:Hook
1316:Drop
1286:Coda
1281:Cell
1233:and
1045:Type
910:ISBN
891:ISBN
860:ISBN
812:ISBN
789:ISBN
758:ISBN
712:2023
683:ISBN
675:ISBN
646:ISBN
638:ISBN
612:OCLC
602:ISBN
577:OCLC
567:ISBN
504:Riff
425:Play
377:and
351:Play
309:and
238:and
210:cell
200:The
153:, a
139:Play
112:Play
104:Mass
85:Play
56:Play
373:of
365:of
341:'s
269:or
226:or
149:In
129:'s
102:'s
73:'s
38:'s
34:In
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858:.
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720:^
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610:.
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523:^
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313:.
305:,
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1209:v
1095:e
1088:t
1081:v
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940:t
933:v
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