Rubrics of Style Analysis (1):_The Music Itself
Adapted from Jan La Rue, Guidelines for Style Analysis: A Comprehensive Outline of Basic Principles
for the Analysis of Musical Style (New York: W. W. Norton, 1970).
I.
Sound
A. Timbre
i.
ii.
iii.
B.
C.
D.
E.
selection
combination
degree of contrast between
instruments/voices
Mass/Layering
i.
doubling
ii.
partial overlap
iii.
contrast of components
Procedural organization of sounding body
i.
texture
(homophonic/polyphonic)
ii.
mass (monochoral/polychoral)
iii.
polarization (melody with explicit/implicit accompaniment)
iv.
consistent/alternating (solo-ripieno
components)
Dynamics
i.
terraced
ii.
graduated
iii.
implied by
instrumentation
iv.
dynamic range
v.
dynamic change within movements
Acoustical considerations
i.
size of room/hall/outdoors
ii.
architectural features (surfaces,
etc.)
iii.
resonance
iv.
nature of instrumentation
v.
II.
attack/decay features of instruments
Rhythm
A. Surface rhythm
i.
patterns of occurrence of mixed durational values
ii.
frequency of occurrence of single durational values
iii.
patterns of accentuation
B. Meter
i.
regular/irregular
ii.
additive/compound
iii.
syncopated/hemiolic
iv.
metrical levels and hierarchies (hypermeter)
C. Tempo/tempo change
i.
tempo relationships between movements
D.
E.
F.
G.
ii.
tempo changes within movements
Duration of individual notes
i.
average duration
ii.
rate of change
iii.
use of ties
Accentuation types
i.
agogic (elongation)
ii.
acoustic (stress)
iii.
accentual hierarchies
Large-scale groups
i.
phrase rhythm
ii.
harmonic rhythm
iii.
text rhythm G. Rests and tacets
Textual rhythm
ii. accentuation
iii. duration
iv. method of arrival/departure
v. ornamentation
H. Phrasing
i.
contour (rising/falling/level/wave
ii.
phrase patterns (form)
iii.
sound reinforcement (variable/constant)
iv.
phrase hierarchies
I. Function
i.
primary (thematic)
ii.
secondary (cantus firmus/ostinato)
iii.
higher-level (abstract) dimensions
III. Melody
A. Range
i. tessitura of part
ii. frequency of occurrence of individual notes
B. Motion
i. simple/compound
ii. by steps/skips/leaps
iii. step size (diatonic/chromatic/enharmonic)
iv. continuous/articulated
v. directional change vi. registral change
C. Salience of individual notes
i. pitch height
0. IV. Harmony
A. Degree of tonality
i. modal
ii. migrant
iii. bifocal
iv. unified
v. expanded
vi. polycentric
vii. atonal
viii. serial
B. Chord types
i. close/remote
ii. unaltered/altered
iii. consonant/dissonant
C. Progression types
i. tonal passages
ii. tonal cadences
iii. deceptive cadences
iv. modulations
V. Counterpoint
A. Cantus firmus treatment (species/free)
B. Imitation type (strict/free)
C. Imitative procedure (canon/fugue/fugato/stretto)
D. Transformational methods
i. augmentation
ii. diminution
iii. retrograde
VI. Structure and growth
A. Large-scale architecture
i. movement sequences
ii. tempo changes
iii. rhythmic association
iv. cyclic organization
B. Delineation of form
i. harmonic plan
ii. changes in harmonic rhythm
iii. repetition and recapitulation schemes
iv. form templates
v. changes of orchestration
vi. changes of texture
vii. hierarchies of stress
C. Procedural considerations
i. algorithmic realization
ii. algorithmic deviation
iii. elasticity
a. motivic development
b. thematic development
- extension/elision
- introduction of new voices
- scale articulation (diatonic/chromatic)
c. harmonic destabilization
iv. disguise
a. harmonic modulation
b. rhythmic permutation
c. melodic permutation (inversion, etc.)
d. melodic diminution
e. melodic ornamentation
v. motion: rhythmic relaxation/intensification
vi. rhetoric
a. figure usage
b. developmental models (oration, exhortation)
VII. Textual corroboration/contradiction
A. Choice of timbre
B. Chord/key changes
C. Intonation contours
D. Rhythmic correspondence
E. Accommodation of text form
VIII. Improvised elements
A. Ornamentation
B. B. Harmonization
C. Solo concerto episodes
D. Cadenzas
IX. Psychological factors
A. Frustration of expectation: Deceptive cadences
B. Disseminated melodies
C. Deceptive notations
i. Baroque vocal cadences
ii. Augenmusik
D. Harmonic ambiguity
E. Rhytmic ambiguity
