Examples of motivic

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In separating this musical fragment into two streams in dialogue, all the cues work together: spatial location, timbre, pitch and rhythm, and motivic material.
However, although the motivic repetitions act as a pitch constraint, they enable the freeing-up of other aspects of the music.
Two moments concern me here: the melodic climax in the first part and the motivic working in the second.
These motivic ideas are consistently developed through prominent use of minor seconds, tritones, and chordal structures built on fourths and sevenths.
This bass cannot guide upper voices from below; rather, the music unfolds in curiously weightless upper-register layers, driven on by a relentless motivic determination.
Still, there is very little motivic connection between the sections, so that each new motif intensifies the dynamic structure of the scene.
He has to identify the material used, distinguish the motivic elements and define the structure.
Musical notation, on the other hand, offers unsurpassed contrapuntal, harmonic, motivic and structural control, especially in four or more voices.
The brief phrase that follows is a motivic variant modulating back to the tonic in bar 21.
Or is such direct motivic unification necessarily tied to tonality?
Combined with symmetry, motivic variation constitutes a powerful means for generating goal-directed motion in music that is not organized around tonic/dominant relations.
Thematically, transformation is present also in various motivic, topical and structural events of this text.
Such relationships, inevitably, hold true for all the different set variants and create an intricate network of motivic links that runs through the piece.
In eighteenthcentury opera the principal musical line is usually carried by the voice, but most motivic cross-references are in the orchestra.
What is mentioned is not the formation of two-, four- or eight-bar sections, but a motivic structure that will serve to create unity.
But motivic cross-references have also been detected within arias, ensembles and choruses; mostly, though not exclusively, they occur in the orchestra rather than the voices.
It may perhaps be termed 'nonlinear', as opposed to 'motivic', although such terminology would deserve ample explanation.

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