{"id":593,"date":"2023-05-11T19:03:27","date_gmt":"2023-05-11T19:03:27","guid":{"rendered":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/phrases-periods\/"},"modified":"2025-08-13T18:46:39","modified_gmt":"2025-08-13T18:46:39","slug":"phrases-periods","status":"publish","type":"chapter","link":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/phrases-periods\/","title":{"raw":"Phrases and periods","rendered":"Phrases and periods"},"content":{"raw":"<div class=\"phrases-&amp;-periods\">\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Learning goals for Chapter 19<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">In this chapter, we will learn:<\/p>\r\n\r\n<ul>\r\n \t<li>How phrases can be defined by harmonic motion and cadence type<\/li>\r\n \t<li>How successive phrases can form phrase groups or periods<\/li>\r\n \t<li>Different types of periodic structure<\/li>\r\n<\/ul>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Phrases and periods\"><\/a>Phrases and periods<\/h1>\r\n<p class=\"import-Normal\">The analysis of musical form attempts to look beyond the minutiae of chord-to-chord construction and relate larger spans of music to one another. A [pb_glossary id=\"2286\"]phrase[\/pb_glossary] is a musical passage that concludes with a cadence ([pb_glossary id=\"2300\"]PAC[\/pb_glossary], [pb_glossary id=\"2303\"]IAC[\/pb_glossary], [pb_glossary id=\"2306\"]PC[\/pb_glossary], [pb_glossary id=\"2312\"]DC[\/pb_glossary], or [pb_glossary id=\"2309\"]HC[\/pb_glossary]). In addition to the necessary harmonic motion associated with each cadence, musical cadences may or may not be indicated by changes in texture, changes in [pb_glossary id=\"2246\"]harmonic rhythm[\/pb_glossary] (that is, the rate of chord change), or cessation of rhythmic activity.<\/p>\r\n<p class=\"import-Normal\">Phrases are the musical equivalent of sentences in prose, and we can think of a cadence as the musical equivalent to a sentence\u2019s ending punctuation. Figure 19\u20111 shows roughly the punctuation equivalent to each cadence type, ranging from the most conclusive (or strongest), the PAC (!), to the most open (or weakest), the HC (?).<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Figure 19\u20111. Cadences and their degree of conclusiveness<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image133.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image133.png\" width=\"1725\" height=\"424\" alt=\"image of chart showing cadences' degree of conclusiveness\" class=\"alignnone\" \/><\/a><\/p>\r\n\r\n<div class=\"textbox shaded\">Access a screen-reader friendly .pdf of this figure here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Figure-19-1.pdf\" target=\"_blank\" rel=\"noopener\">Figure 19-1<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">When more than one phrase appears successively, several different relationships between phrases may occur. When a phrase with greater openness is followed by one with greater conclusiveness (for example, when a phrase ending with a HC is followed by one with a PAC), the two phrases are said to comprise a [pb_glossary id=\"2291\"]period[\/pb_glossary]. Periodic construction follows a question-and-answer prototype. The first phrase of a period, called the [pb_glossary id=\"2292\"]antecedent[\/pb_glossary], sets up the \u201cquestion\u201d (as it were), and the second phrase, the [pb_glossary id=\"2293\"]consequent[\/pb_glossary], provides the \u201canswer.\u201d<\/p>\r\n<p class=\"import-Normal\">When the antecedent and consequent are quite similar (perhaps sharing the same melodic structure except for the cadence, or starting similarly), we describe the form as a [pb_glossary id=\"2294\"]parallel period[\/pb_glossary]. When the antecedent and consequent are significantly different, the form is a [pb_glossary id=\"2296\"]contrasting period[\/pb_glossary]. Phrase relationships denoting degree of contrast are shown by lowercase letters in form diagrams, such as the ones shown in Figure 19\u20112. If a phrase resembles a previous one, its label uses the same lowercase letter followed by a prime sign ( <span>\u2032<\/span> ), as in the parallel period model. If a phrase is significantly different from the previous one, its label uses a new lowercase letter, as in the contrasting period model.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Figure 19\u20112. Form diagrams for parallel and contrasting periods<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image134.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image134.png\" width=\"982\" height=\"306\" alt=\"image of parallel and contrasting period bubble diagrams\" class=\"alignnone\" \/><\/a><\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">When two successive phrases end with the same cadence (for example, both ending with IACs) or when a phrase with greater conclusiveness is followed by one with greater openness (for example, a phrase ending with an IAC followed by one with a HC), the two phrases are said to comprise a [pb_glossary id=\"2329\"]phrase group[\/pb_glossary].<\/p>\r\n<p class=\"import-Normal\">Occasionally, a group of three phrases may form either a three-phrase period or a three-phrase phrase group. A three-phrase period results when the first two phrases function as antecedents (with weaker, or less conclusive cadences) and are followed by a single consequent phrase (having a stronger, or more conclusive cadence). A three-phrase phrase group consists of three phrases that do not have this antecedent-consequent relationship.<\/p>\r\n<p class=\"import-Normal\">A [pb_glossary id=\"2330\"]double period[\/pb_glossary] results when either two periods or a phrase group and a period combine into a larger antecedent-consequent relationship. The prototypical manifestation of a double period appears in Figure 19\u20113.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Figure 19\u20113. Form diagram for a double period<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image135.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image135.png\" width=\"831\" height=\"177\" alt=\"image of bubble diagram for a double period\" class=\"alignnone\" \/><\/a><\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\"><span>In a double period, the consequent of the first phrase group ends with a less conclusive cadence than the consequent of the second period. (In the model above, these cadences are HC and PAC, respectively.)<\/span> These nested antecedent-consequent relationships are essential to the construction of double periods. Furthermore, there is usually some similarity among the four phrases that comprise a double period.<\/p>\r\n\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Self-check quiz on phrases and periods<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">[h5p id=\"58\"]<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: T45 Intro to phrases and periods (8:44)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">https:\/\/youtu.be\/g6M8DqZF_Sc?si=58sedyRJUYwVu0ws<\/p>\r\n<p class=\"import-Normal\">This interactive video explores parallel and contrasting periods in Stephen Foster\u2019s \u201cOh Susanna,\u201d as performed by Keith Little.<\/p>\r\n\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of a lead sheet transcription for \"Oh Susanna\" here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Oh-Susanna-Lead-Sheet.pdf\" target=\"_blank\" rel=\"noopener\">Oh Susanna lead sheet<\/a><\/div>\r\n<div class=\"textbox shaded\">Learn more about American songwriter <strong>Stephen Foster<\/strong> (1826\u20131864) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2252809\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Deane L. Root.<\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Phrases and periods in \u201cO Danny Boy\u201d\"><\/a>Phrases and periods in \u201cO Danny Boy\u201d<\/h1>\r\n<p class=\"import-Normal\">Frederick Weatherly\u2019s famous tune \u201cO Danny Boy\u201d features four clear phrases, delineated by cadences every four bars. Example 19-1 provides an analysis of the chords using Roman numerals and identifies the cadences at the end of each phrase above the staff. This piece presents two successive [pb_glossary id=\"2291\"]periods[\/pb_glossary]. Measures 1\u20138 comprise a [pb_glossary id=\"2294\"]parallel period[\/pb_glossary]. Notice the similarity in the melody of mm. 1\u20132 and mm. 4\u20135; this is what makes the first eight bars parallel. The period structure comes from the half cadence in m. 4 followed by the perfect authentic cadence in mm. 7\u20138. Measures 9\u201316 comprise a [pb_glossary id=\"2296\"]contrasting period[\/pb_glossary]. Here we get the half cadence followed by a perfect authentic cadence (hence, a period), but the melodies begin differently, so this eight-bar segment is considered contrasting.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 19\u20111. Annotated lead sheet for Frederick Weatherly, \u201cO Danny Boy\u201d<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image136.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image136.png\" width=\"1432\" height=\"1030\" alt=\"image of annotated lead sheet\" class=\"alignnone\" \/><\/a><\/p>\r\nPlay and sing this song, or listen to it, performed by Celtic Woman, on <a href=\"https:\/\/open.spotify.com\/track\/75sSAymXP6tGOeRvImwzOf?si=bf844b584fd74cb2\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about British songwriter <strong>Frederick Weatherly<\/strong> (1848\u20131929) by reading his <a href=\"https:\/\/dannyboystory.com\/fred-weatherly\/\" target=\"_blank\" rel=\"noopener\">bio<\/a> at dannyboystory.com.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">Figure 19\u20114 shows the form design for this piece by using bubbles to represent phrases. Such a form diagram also shows measure numbers, cadences, and lowercase letters to show melodic relationships among phrases.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Figure 19\u20114. Form (bubble diagram) for \u201cO Danny Boy\u201d<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image137.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image137.png\" width=\"1431\" height=\"240\" alt=\"image of bubble diagram for &quot;O Danny Boy&quot;\" class=\"alignnone\" \/><\/a><\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 19-1 Analysis with phrases and periods\"><\/a>EXERCISE 19-1 Analysis with phrases and periods<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 19-1 Analysis with phrases and periods<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nAfter listening to and studying each excerpt, do the following:\r\n<ol>\r\n \t<li>Label the key, Roman numerals, and cadences on the blanks provided.<\/li>\r\n \t<li>Create a form diagram for each excerpt containing the following:\r\n\u2022 bubbles, labeled with lowercase letters, to show phrases\r\n\u2022 cadences at the end of each phrase beneath the bubbles\r\n\u2022 measure numbers that show where each phrase begins and ends<\/li>\r\n \t<li>Complete the short online quiz that follows each excerpt to check your knowledge regarding phrase structure and form.<\/li>\r\n<\/ol>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 19\u20111. George J. Webb, \u201cWebb,\u201d mm. 1\u20138<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-19.1-rev.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-19.1-rev-1024x576.png\" alt=\"image of score\" width=\"1024\" height=\"576\" class=\"alignnone size-large wp-image-5786\" \/><\/a>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-19.1-Webb.mp3\"][\/audio]\r\n\r\nLearn about American music educator and composer\u00a0<strong>George J. Webb\u00a0<\/strong>(1803\u20131887) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.29969\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by William E. Boswell.\r\n\r\n<\/div>\r\n<\/div>\r\n<span>[h5p id=\"59\"]<\/span>\r\n\r\n<\/div>\r\n<div class=\"textbox__content\">\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 19\u20112. W. A. Mozart, Sonata for violin and piano, K. 377, mvt. 2, mm. 1\u201316<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-19.2-Mozart.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-19.2-Mozart-920x1024.png\" alt=\"image of score\" width=\"920\" height=\"1024\" class=\"alignnone size-large wp-image-2348\" \/><\/a>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-19.2.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by Vilmos Szabadi, on <a href=\"https:\/\/open.spotify.com\/track\/2ExeEmT2giiipOBJtlWown?si=3ae9a70cded44709\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn more about Austrian composer <strong>Wolfgang Amadeus Mozart<\/strong> (1756\u20131791) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.6002278233\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Cliff Eisen and Stanley Sadie.\r\n\r\n<\/div>\r\n<\/div>\r\n<span>[h5p id=\"60\"]<\/span>\r\n\r\n&nbsp;\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 19\u20113. Ludwig van Beethoven, Piano Sonata no. 5, op. 10, no. 1, mvt. 2, mm. 1\u201316<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-19.3-Beethoven.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-19.3-Beethoven-1024x908.png\" alt=\"image of score\" width=\"1024\" height=\"908\" class=\"alignnone size-large wp-image-2358\" \/><\/a>\r\n\r\nListen to 0:00\u20131:10 of the recording, performed by pianist Richard Goode, on <a href=\"https:\/\/open.spotify.com\/track\/53uSmEPYmZDsFkzeZ1I4Ow?si=3b6ced30b7674e58\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about German composer <strong>Ludwig van Beethoven<\/strong> (1770\u20131827) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40026\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Joseph Kerman and others.\r\n\r\n<\/div>\r\n<\/div>\r\n<span>[h5p id=\"61\"]<\/span>\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2024\/01\/Ex19.1-Analysis-with-phrases-and-periods-rev.pdf\" target=\"_blank\" rel=\"noopener\">Ex19.1 Analysis with phrases and periods<\/a><\/div>\r\n<div class=\"textbox shaded\">Listen to the audio examples featured in this exercise (and more) here: <a href=\"https:\/\/open.spotify.com\/playlist\/7bXDnjn0dAmBKQuGC2OKcF?si=615920a84a654094\" target=\"_blank\" rel=\"noopener\">Spotify playlist for phrases and periods<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 19-2 Compose a parallel period\"><\/a>EXERCISE 19-2 Compose a parallel period<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 19-2 Compose a parallel period<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nOn a piece of staff paper or using a notation program, compose a melody that has a parallel period construction. Your composition should:\r\n<ul>\r\n \t<li>Be eight measures long<\/li>\r\n \t<li>Have two similar phrases, each four measures long, both of which begin identically<\/li>\r\n \t<li>Have a first phrase that implies a HC \u2013 do this by ending on scale degree [latex]\\hat{5}[\/latex], [latex]\\hat{7}[\/latex], or [latex]\\hat{2}[\/latex] in m. 4<\/li>\r\n \t<li>Have the second phrase imply an IAC or PAC \u2013 do this by ending on scale degree [latex]\\hat{1}[\/latex] or [latex]\\hat{3}[\/latex] on the downbeat of the last measure<\/li>\r\n \t<li>Have a logical, tonal melody<\/li>\r\n \t<li>Have a clef, key signature, time signature, and bar lines. All systems after the first should continue to have a clef, key signature, and bar lines.<\/li>\r\n<\/ul>\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex19.2-Compose-a-parallel-period.pdf\" target=\"_blank\" rel=\"noopener\">Ex19.2 Compose a parallel period<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n\r\n<h1><a id=\"EXERCISE 19-3 Analysis of Amy Beach, Gavotte, op. 36, no. 2\"><\/a>EXERCISE 19-3 Analysis of Amy Beach, Gavotte, op. 36, no. 2<\/h1>\r\n\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 19-3 Analysis of Amy Beach, Gavotte, op. 36, no. 2<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<span style=\"font-size: 1rem\">After listening to and studying Worksheet example 19-4, answer the questions below.<\/span>\r\n<ol>\r\n \t<li>What key is mm. 25\u201340 in?<\/li>\r\n \t<li>What key is mm. 41\u201356 in?<\/li>\r\n \t<li>What is the relationship between the two keys in this excerpt?<\/li>\r\n \t<li>Examine m. 44. What is the missing chord label?<\/li>\r\n \t<li>What type of cadence is CADENCE A?<\/li>\r\n \t<li>Examine m. 48. Write down Roman numerals (with figured bass when a chord is inverted) for the three chords in m. 48.<\/li>\r\n \t<li>What type of cadence is CADENCE B?<\/li>\r\n \t<li>What term (two words) best describes the form of mm. 41\u201348?<\/li>\r\n \t<li>What type of cadence is CADENCE C? How is CADENCE C different from CADENCE B?<\/li>\r\n \t<li>Examine the right-hand part (on the upper staff). There are three [pb_glossary id=\"2131\"]melodic sequences[\/pb_glossary] in this excerpt. Write down the measure numbers of where each occurs. Specify the length of the model and how many legs follow.<\/li>\r\n<\/ol>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 19\u20114. Amy Beach, Gavotte, op. 36, no. 2, mm. 25\u201356<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-19.4-Beach.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-19.4-Beach-786x1024.png\" alt=\"image of score\" width=\"786\" height=\"1024\" class=\"alignnone wp-image-2380 size-large\" \/><\/a>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-19.4-Beach.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by pianist Kirsten Johnson, on <a href=\"https:\/\/youtu.be\/jndYqskW2wE?si=4Q51bJEYmO9rgZdL\" target=\"_blank\" rel=\"noopener\">YouTube<\/a>.\r\n\r\nLearn about American composer <strong>Amy Beach<\/strong> (1867\u20131944) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2248268\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Adrienne Fried Block and revised by E. Douglas Bomberger.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex19.3-Analysis-of-Amy-Beach-Gavotte.pdf\" target=\"_blank\" rel=\"noopener\">Ex19.3 Analysis of Amy Beach Gavotte<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1 id=\"chapter-587-section-3\" class=\"section-header\"><a id=\"Melodic dictation with phrases\"><\/a>Melodic dictation with phrases<\/h1>\r\nPractice listening for form at the level of the phrase by notating melodies that use periods and other two-phrase structures. See nos. 23, 28\u201339, and 41\u201344 in<span>\u00a0<\/span><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/back-matter\/appendix-d-melodic-dictations\/\" target=\"_blank\" rel=\"noopener\">Appendix D<\/a><span>\u00a0<\/span>for melodic dictations that feature multi-phrase form designs.\r\n<div class=\"phrases-&amp;-periods\">\r\n<h1><a id=\"Supplemental resources\"><\/a>Supplemental resources<\/h1>\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Supplemental resources for Chapter 19<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"http:\/\/musictheory.pugetsound.edu\/mt21c\/PeriodForm.html\" target=\"_blank\" rel=\"noopener\">Robert Hutchinson's chapter on periods<\/a>\r\n\r\n<a href=\"https:\/\/viva.pressbooks.pub\/openmusictheory\/chapter\/phrase-archetypes-unique-forms\/\" target=\"_blank\" rel=\"noopener\">John Peterson's chapter on the phrase, archetypes, and unique forms<\/a> (Open Music Theory)\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>","rendered":"<div class=\"phrases-&amp;-periods\">\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Learning goals for Chapter 19<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">In this chapter, we will learn:<\/p>\n<ul>\n<li>How phrases can be defined by harmonic motion and cadence type<\/li>\n<li>How successive phrases can form phrase groups or periods<\/li>\n<li>Different types of periodic structure<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<h1><a><\/a>Phrases and periods<\/h1>\n<p class=\"import-Normal\">The analysis of musical form attempts to look beyond the minutiae of chord-to-chord construction and relate larger spans of music to one another. A <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_593_2286\">phrase<\/a> is a musical passage that concludes with a cadence (<a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_593_2300\">PAC<\/a>, <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_593_2303\">IAC<\/a>, <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_593_2306\">PC<\/a>, <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_593_2312\">DC<\/a>, or <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_593_2309\">HC<\/a>). In addition to the necessary harmonic motion associated with each cadence, musical cadences may or may not be indicated by changes in texture, changes in <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_593_2246\">harmonic rhythm<\/a> (that is, the rate of chord change), or cessation of rhythmic activity.<\/p>\n<p class=\"import-Normal\">Phrases are the musical equivalent of sentences in prose, and we can think of a cadence as the musical equivalent to a sentence\u2019s ending punctuation. Figure 19\u20111 shows roughly the punctuation equivalent to each cadence type, ranging from the most conclusive (or strongest), the PAC (!), to the most open (or weakest), the HC (?).<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Figure 19\u20111. Cadences and their degree of conclusiveness<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image133.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image133.png\" width=\"1725\" height=\"424\" alt=\"image of chart showing cadences' degree of conclusiveness\" class=\"alignnone\" \/><\/a><\/p>\n<div class=\"textbox shaded\">Access a screen-reader friendly .pdf of this figure here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Figure-19-1.pdf\" target=\"_blank\" rel=\"noopener\">Figure 19-1<\/a><\/div>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">When more than one phrase appears successively, several different relationships between phrases may occur. When a phrase with greater openness is followed by one with greater conclusiveness (for example, when a phrase ending with a HC is followed by one with a PAC), the two phrases are said to comprise a <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_593_2291\">period<\/a>. Periodic construction follows a question-and-answer prototype. The first phrase of a period, called the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_593_2292\">antecedent<\/a>, sets up the \u201cquestion\u201d (as it were), and the second phrase, the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_593_2293\">consequent<\/a>, provides the \u201canswer.\u201d<\/p>\n<p class=\"import-Normal\">When the antecedent and consequent are quite similar (perhaps sharing the same melodic structure except for the cadence, or starting similarly), we describe the form as a <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_593_2294\">parallel period<\/a>. When the antecedent and consequent are significantly different, the form is a <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_593_2296\">contrasting period<\/a>. Phrase relationships denoting degree of contrast are shown by lowercase letters in form diagrams, such as the ones shown in Figure 19\u20112. If a phrase resembles a previous one, its label uses the same lowercase letter followed by a prime sign ( <span>\u2032<\/span> ), as in the parallel period model. If a phrase is significantly different from the previous one, its label uses a new lowercase letter, as in the contrasting period model.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Figure 19\u20112. Form diagrams for parallel and contrasting periods<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image134.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image134.png\" width=\"982\" height=\"306\" alt=\"image of parallel and contrasting period bubble diagrams\" class=\"alignnone\" \/><\/a><\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">When two successive phrases end with the same cadence (for example, both ending with IACs) or when a phrase with greater conclusiveness is followed by one with greater openness (for example, a phrase ending with an IAC followed by one with a HC), the two phrases are said to comprise a <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_593_2329\">phrase group<\/a>.<\/p>\n<p class=\"import-Normal\">Occasionally, a group of three phrases may form either a three-phrase period or a three-phrase phrase group. A three-phrase period results when the first two phrases function as antecedents (with weaker, or less conclusive cadences) and are followed by a single consequent phrase (having a stronger, or more conclusive cadence). A three-phrase phrase group consists of three phrases that do not have this antecedent-consequent relationship.<\/p>\n<p class=\"import-Normal\">A <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_593_2330\">double period<\/a> results when either two periods or a phrase group and a period combine into a larger antecedent-consequent relationship. The prototypical manifestation of a double period appears in Figure 19\u20113.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Figure 19\u20113. Form diagram for a double period<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image135.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image135.png\" width=\"831\" height=\"177\" alt=\"image of bubble diagram for a double period\" class=\"alignnone\" \/><\/a><\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\"><span>In a double period, the consequent of the first phrase group ends with a less conclusive cadence than the consequent of the second period. (In the model above, these cadences are HC and PAC, respectively.)<\/span> These nested antecedent-consequent relationships are essential to the construction of double periods. Furthermore, there is usually some similarity among the four phrases that comprise a double period.<\/p>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Self-check quiz on phrases and periods<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">\n<div id=\"h5p-58\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-58\" class=\"h5p-iframe\" data-content-id=\"58\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"Quiz on Phrases and Periods\"><\/iframe><\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T45 Intro to phrases and periods (8:44)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><iframe loading=\"lazy\" id=\"oembed-1\" title=\"T45 Intro to Phrases &amp; Periods\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/g6M8DqZF_Sc?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">This interactive video explores parallel and contrasting periods in Stephen Foster\u2019s \u201cOh Susanna,\u201d as performed by Keith Little.<\/p>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of a lead sheet transcription for &#8220;Oh Susanna&#8221; here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Oh-Susanna-Lead-Sheet.pdf\" target=\"_blank\" rel=\"noopener\">Oh Susanna lead sheet<\/a><\/div>\n<div class=\"textbox shaded\">Learn more about American songwriter <strong>Stephen Foster<\/strong> (1826\u20131864) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2252809\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Deane L. Root.<\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>Phrases and periods in \u201cO Danny Boy\u201d<\/h1>\n<p class=\"import-Normal\">Frederick Weatherly\u2019s famous tune \u201cO Danny Boy\u201d features four clear phrases, delineated by cadences every four bars. Example 19-1 provides an analysis of the chords using Roman numerals and identifies the cadences at the end of each phrase above the staff. This piece presents two successive <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_593_2291\">periods<\/a>. Measures 1\u20138 comprise a <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_593_2294\">parallel period<\/a>. Notice the similarity in the melody of mm. 1\u20132 and mm. 4\u20135; this is what makes the first eight bars parallel. The period structure comes from the half cadence in m. 4 followed by the perfect authentic cadence in mm. 7\u20138. Measures 9\u201316 comprise a <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_593_2296\">contrasting period<\/a>. Here we get the half cadence followed by a perfect authentic cadence (hence, a period), but the melodies begin differently, so this eight-bar segment is considered contrasting.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 19\u20111. Annotated lead sheet for Frederick Weatherly, \u201cO Danny Boy\u201d<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image136.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image136.png\" width=\"1432\" height=\"1030\" alt=\"image of annotated lead sheet\" class=\"alignnone\" \/><\/a><\/p>\n<p>Play and sing this song, or listen to it, performed by Celtic Woman, on <a href=\"https:\/\/open.spotify.com\/track\/75sSAymXP6tGOeRvImwzOf?si=bf844b584fd74cb2\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about British songwriter <strong>Frederick Weatherly<\/strong> (1848\u20131929) by reading his <a href=\"https:\/\/dannyboystory.com\/fred-weatherly\/\" target=\"_blank\" rel=\"noopener\">bio<\/a> at dannyboystory.com.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">Figure 19\u20114 shows the form design for this piece by using bubbles to represent phrases. Such a form diagram also shows measure numbers, cadences, and lowercase letters to show melodic relationships among phrases.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Figure 19\u20114. Form (bubble diagram) for \u201cO Danny Boy\u201d<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image137.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image137.png\" width=\"1431\" height=\"240\" alt=\"image of bubble diagram for &quot;O Danny Boy&quot;\" class=\"alignnone\" \/><\/a><\/p>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 19-1 Analysis with phrases and periods<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 19-1 Analysis with phrases and periods<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p>After listening to and studying each excerpt, do the following:<\/p>\n<ol>\n<li>Label the key, Roman numerals, and cadences on the blanks provided.<\/li>\n<li>Create a form diagram for each excerpt containing the following:<br \/>\n\u2022 bubbles, labeled with lowercase letters, to show phrases<br \/>\n\u2022 cadences at the end of each phrase beneath the bubbles<br \/>\n\u2022 measure numbers that show where each phrase begins and ends<\/li>\n<li>Complete the short online quiz that follows each excerpt to check your knowledge regarding phrase structure and form.<\/li>\n<\/ol>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 19\u20111. George J. Webb, \u201cWebb,\u201d mm. 1\u20138<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-19.1-rev.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-19.1-rev-1024x576.png\" alt=\"image of score\" width=\"1024\" height=\"576\" class=\"alignnone size-large wp-image-5786\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-19.1-rev-1024x576.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-19.1-rev-300x169.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-19.1-rev-768x432.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-19.1-rev-1536x864.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-19.1-rev-2048x1152.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-19.1-rev-65x37.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-19.1-rev-225x127.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-19.1-rev-350x197.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-593-1\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-19.1-Webb.mp3?_=1\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-19.1-Webb.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-19.1-Webb.mp3<\/a><\/audio><\/p>\n<p>Learn about American music educator and composer\u00a0<strong>George J. Webb\u00a0<\/strong>(1803\u20131887) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.29969\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by William E. Boswell.<\/p>\n<\/div>\n<\/div>\n<p><span><\/p>\n<div id=\"h5p-59\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-59\" class=\"h5p-iframe\" data-content-id=\"59\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"WE 19.1 Webb mini quiz\"><\/iframe><\/div>\n<\/div>\n<p><\/span><\/p>\n<\/div>\n<div class=\"textbox__content\">\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 19\u20112. W. A. Mozart, Sonata for violin and piano, K. 377, mvt. 2, mm. 1\u201316<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-19.2-Mozart.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-19.2-Mozart-920x1024.png\" alt=\"image of score\" width=\"920\" height=\"1024\" class=\"alignnone size-large wp-image-2348\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-19.2-Mozart-920x1024.png 920w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-19.2-Mozart-269x300.png 269w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-19.2-Mozart-768x855.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-19.2-Mozart-1380x1536.png 1380w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-19.2-Mozart-1840x2048.png 1840w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-19.2-Mozart-65x72.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-19.2-Mozart-225x250.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-19.2-Mozart-350x390.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-19.2-Mozart.png 2005w\" sizes=\"auto, (max-width: 920px) 100vw, 920px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-593-2\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-19.2.mp3?_=2\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-19.2.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-19.2.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by Vilmos Szabadi, on <a href=\"https:\/\/open.spotify.com\/track\/2ExeEmT2giiipOBJtlWown?si=3ae9a70cded44709\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn more about Austrian composer <strong>Wolfgang Amadeus Mozart<\/strong> (1756\u20131791) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.6002278233\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Cliff Eisen and Stanley Sadie.<\/p>\n<\/div>\n<\/div>\n<p><span><\/p>\n<div id=\"h5p-60\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-60\" class=\"h5p-iframe\" data-content-id=\"60\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"WE 19.2 Mozart mini quiz\"><\/iframe><\/div>\n<\/div>\n<p><\/span><\/p>\n<p>&nbsp;<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 19\u20113. Ludwig van Beethoven, Piano Sonata no. 5, op. 10, no. 1, mvt. 2, mm. 1\u201316<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-19.3-Beethoven.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-19.3-Beethoven-1024x908.png\" alt=\"image of score\" width=\"1024\" height=\"908\" class=\"alignnone size-large wp-image-2358\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-19.3-Beethoven-1024x908.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-19.3-Beethoven-300x266.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-19.3-Beethoven-768x681.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-19.3-Beethoven-1536x1362.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-19.3-Beethoven-65x58.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-19.3-Beethoven-225x200.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-19.3-Beethoven-350x310.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-19.3-Beethoven.png 1856w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p>Listen to 0:00\u20131:10 of the recording, performed by pianist Richard Goode, on <a href=\"https:\/\/open.spotify.com\/track\/53uSmEPYmZDsFkzeZ1I4Ow?si=3b6ced30b7674e58\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about German composer <strong>Ludwig van Beethoven<\/strong> (1770\u20131827) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40026\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Joseph Kerman and others.<\/p>\n<\/div>\n<\/div>\n<p><span><\/p>\n<div id=\"h5p-61\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-61\" class=\"h5p-iframe\" data-content-id=\"61\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"WE 19.3 Beethoven mini quiz\"><\/iframe><\/div>\n<\/div>\n<p><\/span><\/p>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2024\/01\/Ex19.1-Analysis-with-phrases-and-periods-rev.pdf\" target=\"_blank\" rel=\"noopener\">Ex19.1 Analysis with phrases and periods<\/a><\/div>\n<div class=\"textbox shaded\">Listen to the audio examples featured in this exercise (and more) here: <a href=\"https:\/\/open.spotify.com\/playlist\/7bXDnjn0dAmBKQuGC2OKcF?si=615920a84a654094\" target=\"_blank\" rel=\"noopener\">Spotify playlist for phrases and periods<\/a><\/div>\n<\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 19-2 Compose a parallel period<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 19-2 Compose a parallel period<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p>On a piece of staff paper or using a notation program, compose a melody that has a parallel period construction. Your composition should:<\/p>\n<ul>\n<li>Be eight measures long<\/li>\n<li>Have two similar phrases, each four measures long, both of which begin identically<\/li>\n<li>Have a first phrase that implies a HC \u2013 do this by ending on scale degree <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-007e62d9808d6b172da8b2875347ade1_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#53;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"8\" style=\"vertical-align: 0px;\" \/>, <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-aabb030b8c1f8a0694fdf6f276fed432_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#55;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/>, or <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-af5002d4be0497c609d44f228fde7f2a_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#50;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"8\" style=\"vertical-align: 0px;\" \/> in m. 4<\/li>\n<li>Have the second phrase imply an IAC or PAC \u2013 do this by ending on scale degree <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-a39bc1789eaec8fb0f064f247aee204c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#49;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"7\" style=\"vertical-align: 0px;\" \/> or <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-e4613cf46b5ba5f7a0e3da296ab92a17_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#51;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/> on the downbeat of the last measure<\/li>\n<li>Have a logical, tonal melody<\/li>\n<li>Have a clef, key signature, time signature, and bar lines. All systems after the first should continue to have a clef, key signature, and bar lines.<\/li>\n<\/ul>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex19.2-Compose-a-parallel-period.pdf\" target=\"_blank\" rel=\"noopener\">Ex19.2 Compose a parallel period<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 19-3 Analysis of Amy Beach, Gavotte, op. 36, no. 2<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 19-3 Analysis of Amy Beach, Gavotte, op. 36, no. 2<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><span style=\"font-size: 1rem\">After listening to and studying Worksheet example 19-4, answer the questions below.<\/span><\/p>\n<ol>\n<li>What key is mm. 25\u201340 in?<\/li>\n<li>What key is mm. 41\u201356 in?<\/li>\n<li>What is the relationship between the two keys in this excerpt?<\/li>\n<li>Examine m. 44. What is the missing chord label?<\/li>\n<li>What type of cadence is CADENCE A?<\/li>\n<li>Examine m. 48. Write down Roman numerals (with figured bass when a chord is inverted) for the three chords in m. 48.<\/li>\n<li>What type of cadence is CADENCE B?<\/li>\n<li>What term (two words) best describes the form of mm. 41\u201348?<\/li>\n<li>What type of cadence is CADENCE C? How is CADENCE C different from CADENCE B?<\/li>\n<li>Examine the right-hand part (on the upper staff). There are three <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_593_2131\">melodic sequences<\/a> in this excerpt. Write down the measure numbers of where each occurs. Specify the length of the model and how many legs follow.<\/li>\n<\/ol>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 19\u20114. Amy Beach, Gavotte, op. 36, no. 2, mm. 25\u201356<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-19.4-Beach.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-19.4-Beach-786x1024.png\" alt=\"image of score\" width=\"786\" height=\"1024\" class=\"alignnone wp-image-2380 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-19.4-Beach-786x1024.png 786w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-19.4-Beach-230x300.png 230w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-19.4-Beach-768x1001.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-19.4-Beach-1179x1536.png 1179w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-19.4-Beach-1571x2048.png 1571w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-19.4-Beach-65x85.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-19.4-Beach-225x293.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-19.4-Beach-350x456.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-19.4-Beach.png 1952w\" sizes=\"auto, (max-width: 786px) 100vw, 786px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-593-3\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-19.4-Beach.mp3?_=3\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-19.4-Beach.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-19.4-Beach.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by pianist Kirsten Johnson, on <a href=\"https:\/\/youtu.be\/jndYqskW2wE?si=4Q51bJEYmO9rgZdL\" target=\"_blank\" rel=\"noopener\">YouTube<\/a>.<\/p>\n<p>Learn about American composer <strong>Amy Beach<\/strong> (1867\u20131944) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2248268\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Adrienne Fried Block and revised by E. Douglas Bomberger.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex19.3-Analysis-of-Amy-Beach-Gavotte.pdf\" target=\"_blank\" rel=\"noopener\">Ex19.3 Analysis of Amy Beach Gavotte<\/a><\/div>\n<\/div>\n<\/div>\n<h1 id=\"chapter-587-section-3\" class=\"section-header\"><a><\/a>Melodic dictation with phrases<\/h1>\n<p>Practice listening for form at the level of the phrase by notating melodies that use periods and other two-phrase structures. See nos. 23, 28\u201339, and 41\u201344 in<span>\u00a0<\/span><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/back-matter\/appendix-d-melodic-dictations\/\" target=\"_blank\" rel=\"noopener\">Appendix D<\/a><span>\u00a0<\/span>for melodic dictations that feature multi-phrase form designs.<\/p>\n<div class=\"phrases-&amp;-periods\">\n<h1><a><\/a>Supplemental resources<\/h1>\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Supplemental resources for Chapter 19<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"http:\/\/musictheory.pugetsound.edu\/mt21c\/PeriodForm.html\" target=\"_blank\" rel=\"noopener\">Robert Hutchinson&#8217;s chapter on periods<\/a><\/p>\n<p><a href=\"https:\/\/viva.pressbooks.pub\/openmusictheory\/chapter\/phrase-archetypes-unique-forms\/\" target=\"_blank\" rel=\"noopener\">John Peterson&#8217;s chapter on the phrase, archetypes, and unique forms<\/a> (Open Music Theory)<\/p>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"glossary\"><span class=\"screen-reader-text\" id=\"definition\">definition<\/span><template id=\"term_593_2286\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_593_2286\"><div tabindex=\"-1\"><p>musical passage that concludes with a cadence<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_593_2300\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_593_2300\"><div tabindex=\"-1\"><p>abbreviation for \"perfect authentic cadence,\" which is the most conclusive cadence type, having both of the following features: (1) the cadence uses a dominant chord in root position followed by a tonic chord in root position, and (2) the tonic triad uses scale degree 1 (\u201cdo\u201d) in the soprano melody or main melodic part<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_593_2303\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_593_2303\"><div tabindex=\"-1\"><p>abbreviation for \"imperfect authentic cadence,\" which refers to any cadence that moves from dominant function to the tonic triad in which any of the chords is inverted or uses the leading tone chord instead of V, or in which a scale degree other than 1 (\"do\") is in the highest part or melody with the tonic chord<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_593_2306\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_593_2306\"><div tabindex=\"-1\"><p>abbreviation for \"plagal cadence,\" which refers to the cadence type that features subdominant to tonic<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_593_2312\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_593_2312\"><div tabindex=\"-1\"><p>abbreviation for \"deceptive cadence,\" the term referring to a cadence that consists of two chords: dominant (V or V7) to a chord other than tonic, usually the submediant triad<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_593_2309\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_593_2309\"><div tabindex=\"-1\"><p>abbreviation for \"half cadence,\" the term referring to a cadence type that ends with a dominant chord<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_593_2246\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_593_2246\"><div tabindex=\"-1\"><p>the rate of chord change<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_593_2291\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_593_2291\"><div tabindex=\"-1\"><p>unit of form in which a phrase with greater openness is followed by one with greater conclusiveness (for example, a phrase ending with a HC followed by one with a PAC)<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_593_2292\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_593_2292\"><div tabindex=\"-1\"><p>first phrase of a period<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_593_2293\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_593_2293\"><div tabindex=\"-1\"><p>second phrase of a period<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_593_2294\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_593_2294\"><div tabindex=\"-1\"><p>unit of form that features (1) two phrases\u2014the first ending with a weaker cadence, followed by a second ending with a stronger cadence\u2014in which (2) both the antecedent and consequent phrase begin the same way melodically<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_593_2296\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_593_2296\"><div tabindex=\"-1\"><p>unit of form with the following features: (1) two phrases\u2014the first ending with a weaker cadence, followed by a second ending with a stronger cadence\u2014and (2) antecedent and consequent phrases that begin differently<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_593_2329\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_593_2329\"><div tabindex=\"-1\"><p>unit of form consisting of two phrases that do not have an antecedent-consequent relationship; occurs when two successive phrases end with the same cadence (for example, two phrases both ending with IACs) or when a phrase with greater conclusiveness is followed by one with greater openness (for example, a phrase ending with an IAC followed by one with a HC)<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_593_2330\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_593_2330\"><div tabindex=\"-1\"><p>unit of form in which two periods or a phrase group and a period combine into a larger antecedent-consequent relationship, where the second cadence is open (like a HC) and the fourth cadence is closed (like a PAC)<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_593_2131\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_593_2131\"><div tabindex=\"-1\"><p>process in which a portion of music (both intervallic and rhythmic content) is successively replicated at a different pitch level<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><\/div>","protected":false},"author":3,"menu_order":19,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-593","chapter","type-chapter","status-publish","hentry"],"part":3,"_links":{"self":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/593","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/users\/3"}],"version-history":[{"count":71,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/593\/revisions"}],"predecessor-version":[{"id":7054,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/593\/revisions\/7054"}],"part":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/parts\/3"}],"metadata":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/593\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/media?parent=593"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapter-type?post=593"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/contributor?post=593"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/license?post=593"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}