By Belkin A.
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Rounding Off At the level of the whole form, points of reference may extend to more or less literal repeats of whole sections. Such a salient reprise helps orient the listener in the piece, and, by rounding off the form, contributes to closure, bringing a sense of stability. Since the material is familiar, there is a sense of relaxation: The listener's job is less demanding. © Alan Belkin, 2008 49 Ending gestures Just as some musical gestures are more appropriate for beginning, others suggest ending.
Repertoire example) Brahms, String Quartet #1, 1st movement, m. 236-end. The climax of the coda (m. 236) gradually winds down until the final cadence in m. 260. This descent, which is actually longer than the buildup (m. 224-235), contributes to the peaceful end of the movement. © Alan Belkin, 2008 35 rd (repertoire example) Bruckner, Symphony #9, 3 movement, m. 206-7: The huge climax is followed by a pause and a sudden pp, which sets in motion the final section of the movement, in a suspenseful way.
2 As the work gets longer, how can the composer keep the structure comprehensible to the listener? Hierarchy Large musical form is hierarchical: A satisfactory large form cannot be constructed just by stringing together a series of short forms. Articulations into sections, and the presence of prominent reference points, make it easier for the listener to grasp and interpret large amounts of musical information. Some divisions, reference points, and climaxes in a large form will normally be more prominent than others, creating structural hierarchies.