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.SKIP 2
.CENTER		
CHAPTER V
.SKIP 2
.CENTER			
EXTENDED TONICIZATION
.SKIP 1
.INDENT 6
.FILL
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.BEGIN VERBATIM

Added Levels of Tonic Function
.END
 
	Almost by definition, music of the tonal era depends
on the listener's strong memory of a basic tonic.  The basic tonic is a
cohesive force which sets limits and acts as a reference point for all
types of harmonic movement.  Even %2modulation%1 within a movement never
really destroys this reference point; it merely sets up a foremost
subsidiary point.  When %2tonicization%1 becomes greatly extended, the same
effect is produced on a somewhat smaller scale.  The difference between
extended tonicization and modulation lies in the role the particular
passage is playing in relation to the whole.  There is much music wherein
these two concepts tend to overlap, but in the main, composers of
the music here under consideration have been so intent upon formal
clarity that the dependent character of tonicization, even when
extended, is maintained.

 
	This important facet of tonal music may be represented by
%2added levels of tonicization%1 in the middle area of the analytical
diagram.  These added levels occur when, %2within%1 a %2temporary%1 tonic
area, again a new tonic is approached.  A simple example of this
follows.  The basic key of ↓_C_↓ is understood to be well established
both before and after the example.
 
.begin verbatim

Example 56
.end
.CENTER
%5⊂⊗⊃L(8,2.9):56.PLT[HHA,LCS]⊂⊗⊃%1