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Journal Article
Journal of Music Theory (2020) 64 (1): 37–61.
Published: 01 April 2020
...Guy Capuzzo This article examines Elliott Carter’s most extensive forays into the theory and practice of musical silence: the 2005 composition Intermittences and the 1957 lecture “Sound and Silence in Time: A Contemporary Approach to the Elements of Music.” Taken together, the piece and the lecture...
Journal Article
Journal of Music Theory (2013) 57 (2): 419–431.
Published: 01 October 2013
... of North Indian classical music, Richard Widdess (chapter 5) identifies “phrases” in an improvised alap by highlighting both relatively long silences or interonset intervals between successive tones (i.e., the temporal proximity of tones within a phrase), as well as intermittent pulsation (within...
Journal Article
Journal of Music Theory (2022) 66 (1): 135–145.
Published: 01 April 2022
...) with the in-flight disappearance of the invisible jet in Wonder Woman 1984 (2020, music by Hans Zimmer). Both musical cues unabashedly project common-practice properties in the major mode, only tinging the pure diatonicism with an intermittent subtonic major triad, which finds its way home on the double-plagal...
Journal Article
Journal of Music Theory (2023) 67 (1): 99–139.
Published: 01 April 2023
... binary criteria adapted from the composer's own description of the work: the relative pitch (low or high), the perceived speed or density (slow or fast), the reverberation (dry or wet), and the continuity (intermittent or sustained). 13 All possible combinations of these four parameters can...
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Journal Article
Journal of Music Theory (2005) 49 (1): 189–206.
Published: 01 April 2005
... Sylvia Plath’s poem “Appre- hensions” and Shulamit Ran’s composition “Apprehensions” written in 1979, with intermittent excursions into the film Forrest Gump (1994), Webern’s Four Pieces for Violin and Piano op. 7 no. 3, and Haydn’s String Quartet op. 76 no. 2. The essay has a fascinating...
Journal Article
Journal of Music Theory (2023) 67 (1): 171–186.
Published: 01 April 2023
... section, and the preceding half- talea maintains its established twelve-breve length. Example 4.6 shows that the upper-voice integer valor blocks are intermittently taleaic, with only four breves showing consistently uniform rhythmic patterns: three at the end of each block and one at the beginning...
Journal Article
Journal of Music Theory (2009) 53 (1): 1–56.
Published: 01 April 2009
... of the secondary zone operates mainly in 9/4 (Example 2c), but duple groupings appear intermittently, notably in m. 46 (Example 2d); therefore, I will consider the former primary and the latter secondary. Figure 3.  A 2-cube The factor...
Journal Article
Journal of Music Theory (2023) 67 (1): 141–169.
Published: 01 April 2023
... triad down to notes of a F-minor triad, while the D♭ pedal quietly continues, apart from intermittent cuts to the CEO's observation. (By contrast, the arpeggiations are unaffected by these cuts.) Even after ignoring timbre and diegesis and so forth, Schubert's B♭M → G♭M and Barrow/Salisbury's D♭m...
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Journal Article
Journal of Music Theory (2012) 56 (1): 87–120.
Published: 01 April 2012
... with intermittent snatches of countermelody Codetta • Melody, accompaniment, and repeating 72–77 2 countermelodic figure • Melody (alone, then doubled in all four parts) 78–81 1 • Two...
Journal Article
Journal of Music Theory (2011) 55 (1): 43–88.
Published: 01 April 2011
...). An intermingling of these two forms in mm. 417–20 is the SOURCE of motion in this passage. The rate of harmonic change increases in m. 421, although with intermittent reference back to the source series forms. The pace slows again in m. 426, where the violin gets...
Includes: Supplementary data
Journal Article
Journal of Music Theory (2003) 47 (1): 155–214.
Published: 01 April 2003
... proofreaders survives.4 Berg added intermittent annotations to his copy of the piano reduction of the score, however, and these markings do shed some light on his thinking about the monodrama at the time. By cir- cling groups of notes and underlining text with different-colored ink, he differentiated two...
Journal Article
Journal of Music Theory (2016) 60 (2): 213–262.
Published: 01 October 2016
... 18.  The three melodic instruments on the Ph5 cycle in pizzicato, also irregular, and also using a small set of pitches, and the viola plays a drone throughout. The second violin, meanwhile, intermittently inter- jects with a descending four-note line. The pitch materials...
Journal Article
Journal of Music Theory (2002) 46 (1-2): 285–345.
Published: 01 October 2002
... of the investigation and, as I stated earlier, attempts to generalize this approach over the entire corpus of Babbitt’s works: In a very real sense, Babbitt’s whole body of work can be heard as a sin- gle gigantic composition, emerging intermittently and in different guises like...