Dear members of the list,
I recently completed the second of two pairs of studies on my website, at . The first pair, “Mozart’s Delayed Dominants,” targets long-range dominants that arrive much later than the subordinate theme, near the end of the exposition: through exposition-long voice exchanges (part 1), and through delays in returning to the obligatory register (part 2). The second pair, “Borrowing for Contrast,” addresses the long-term role that contrast plays in a compendium of borrowings and hybrid borrowing in the music of Mozart and Brahms, including new Mozart borrowings from J.S. Bach, and new Brahms borrowings from D. Scarlatti, Mozart, and R. Schumann.
Channan