This essay focuses on the first movement of Thomas Ades's Violin Concerto (Concentric Paths) Op. 23. The analysis has three primary goals: first, to demonstrate how various points of emphasis or 'punctuations' provide an overall harmonic structure that functions as the framework of the movement; second, to establish the pre-compositional foundation of the procedures used by Ades to develop melodic and harmonic material within the framework; and third, to explore how this structure and the procedures relate to the notions of continuity and goal-directedness as described in the literature, particularly in John Roeder's article "Co-operating Continuities in the Music of Thomas Ades" (2006).
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