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00300	.SKIP 2
00400	.CENTER		
00500	CHAPTER V
00600	.SKIP 2
00700	.CENTER			
00800	EXTENDED TONICIZATION
00900	.SKIP 1
01000	.INDENT 12
01100	.FILL
01200	.ADJUST
01300	.SELECT 1
01400	.BEGIN VERBATIM
01500	
01600	Added Levels of Tonic Function
01700	.END
01800	 
01900		Almost by definition, music of the tonal era depends
02000	on the listener's strong memory of a basic tonic.  The basic tonic is a
02100	cohesive force which sets limits and acts as a reference point for all
02200	types of harmonic movement.  Even %2modulation%1 within a movement never
02300	really destroys this reference point; it merely sets up a foremost
02400	subsidiary point.  When %2tonicization%1 becomes greatly extended, the same
02500	effect is produced on a somewhat smaller scale.  The difference between
02600	extended tonicization and modulation lies in the role the particular
02700	passage is playing in relation to the whole.  There is much music wherein
02800	these two concepts tend to overlap, but in the main, composers of
02900	the music here under consideration have been so intent upon formal
03000	clarity that the dependent character of tonicization, even when
03100	extended, is maintained.
03200	
03300	 
03400		This important facet of tonal music may be represented by
03500	%2added levels of tonicization%1 in the middle area of the analytical
03600	diagram.  These added levels occur when, %2within%1 a %2temporary%1 tonic
03700	area, again a new tonic is approached.  A simple example of this
03800	follows.  The basic key of ↓_C_↓ is understood to be well established
03900	both before and after the example.
04000	 
04100	.begin verbatim
04200	
04300	Example 59
04400	.end
04500	.CENTER
04600	%6⊂⊗⊃L[α%0.00,α%-2.84](17,22):59X.PLT[C5,LCS]⊂⊗⊃%1