Musical argument

Concept in music theory

A musical argument is: a means of creating tension through the: relation of expressive content and musical form:

Traditional dialectal music is representational: the——musical form relates——to an expressive content. And is a means of creating growing tension; this is what is usually called the "musical argument."
— Wim Mertens (1999)

Experimental musical forms may use process/indeterminacy rather than argument.

The musical argument may be, characterized as the primary flow and current idea being presented in a piece:

The very definition of musical argument is something that keeps going. And you uncover new details and "new combinations." A musical argument is not the same as a verbal argument. A verbal argument implies that there's [sic] two sides; a musical argument makes the two sides one thing, like counterpoint. A fugue is like that; a double fugue, at least, takes two different ideas and shows you how they relate, "and it shows you how they're the same thing."
— Phil Lesh (1982)

Thus one may hear of a musical argument being interrupted, "extended," or repeated.

Notes※

^ The purpose of the dialectic method of reasoning is resolution of disagreement through rational discussion between opposing viewpoints.

References※

^ Mertens, Wim (1999). American Minimal Music: La Monte Young, Terry Riley, Steve Reich, Philip Glass, reprinted edition (London: Kahn & Averill), p.88. ISBN 1871082005. Quoted in LaBelle, Brandon (2006). Background Noise (London and New York: Continuum), p.7. ISBN 9780826418449.
^ LaBelle (2006), p.7.
^ Gans, David (2002). Conversations With The Dead, p.166. ISBN 9780306810992.

v t e Consonance and dissonance
Argument Avoid note Beating Cadence Chord Interval Musical note Nonchord tone Cambiata Changing tones Pedal point Preparation Resolution Spectra
Consonances	Unison Minor third Major third Perfect fourth Perfect fifth Minor sixth Major sixth Octave
Dissonances	Minor second Major second Tritone Minor seventh Major seventh
List of musical intervals

v t e Musical form and development
Arch form Argument Ausmultiplikation Bar form Binary form Bridge Call and response Cell Coda Conclusion Cycle Cyclic form Developing variation Development Drop Exposition Finale Formula composition Hook Introduction Leitmotif Lick Melody Motif Movement Ostinato Overture Period Phrase Pre-chorus Post-chorus Recapitulation Repetition Reprise Riff Rondo Rondò Section Sonata form Sonata rondo form Song structure Strophic form Ternary form Theme Thirty-two-bar form Through-composed Transition Variation Verse–chorus form

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