Microformal

For example, the note values and tonality of a phrase cannot be chosen independently of those of the other phrases; and similar restirctions apply also for many other microformal characteristics.

However, the results of the research do implicitly show how musical form reflects and implies some of these mental devices. In the first two repertories examined, the rules have been divided into two categories: macroformal and microformal rules.

General similarities and symmetries, broad tonal relationships, compass of parts, and so forth belong to the macroformal plane, while internal phrase structure, pitch contour, rhythmic peculiarities, and the like belong to the microformal plane (Baroni and Callegari 1989).

Each section harbours a ternary microformal pattern based upon its own thematic content.

Other microformal characteristics also mark these traditional, oral tales, such as the absence of the necessary enjambment — the basic element is the line or the hemistich, as also in the romancero -- and what Parry calls the thrift of formulaic art ("each position in the verse tends to allow one way rather than many ways of saying any one thing" if we are speaking of a single bard), a quality also found in Hesiod.

Shakespeare's microformal analysis is the commensurate response to a world of forms emerging into and out of relation.

Each of these pieces deals with the microformal elements of the text in ways that underpin my larger, structural argument about the imaginative effect of the text.

Both microformal and mesoformal deformations of the bed are considered in the analytical study.