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Schenker's view of dominant prolongation

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Journal Article
Journal of Music Theory (1 April 2016) 60 (1): 1–21.
Published: 01 April 2016
... extended dissonant prolongations. Robert P. Morgan is professor emeritus of music at Yale University. His most recent book is Becoming Heinrich Schenker (2014). © 2016 by Yale University 2016 dissonant prolongation Schenker's view of dominant prolongation Works Cited Baker...
Journal Article
Journal of Music Theory (1 April 2017) 61 (1): 29–57.
Published: 01 April 2017
...Diego Cubero The concept of prolongation in Schenkerian analysis broadly describes the elaboration of a vertical sonority. Among the most basic ways to prolong a chord is by arpeggiating it, such that it governs the time span of its arpeggiation. In Heinrich Schenker's writings, however, there are...
Journal Article
Journal of Music Theory (1 October 2002) 46 (1-2): 207–283.
Published: 01 October 2002
... . “Concepts of Harmony and Prolongation in Schoenberg's Op. 19.” Music Theory Spectrum 21 : 230 -59. ____. Forthcoming. “New Theories and Fantasies on the Music of Debussy: Post-Triadic Prolongation in Ce qu'a vu le vent d'ouest and Other Examples.” In Third International Schenker Symposium: Selected...
Journal Article
Journal of Music Theory (1 October 2000) 44 (2): 451–485.
Published: 01 October 2000
... MOVEMENT OF SCHUBERT’S STRING QUINTET AND IN CHOPIN’S FOURTH BALLADE Lauri Suurpää Introduction In Free Composition Schenker begins the discussion of the middle- ground level by describing different ways in which the tonic-dominant...
Journal Article
Journal of Music Theory (1 April 2001) 45 (1): 190–204.
Published: 01 April 2001
... dynamic unity through a diverse manifold of tones by purely musical means. That intention is the initial premise in his rational reconstructions of com- posed works from the tradition” (58). Before returning to—and extend- ing—the notion of intention as grounding Schenker’s view of compo- sition and...
Journal Article
Journal of Music Theory (1 April 2011) 55 (1): 89–146.
Published: 01 April 2011
...Matthew Arndt As a comparative reading informed by recent work in integration theory and metaphor theory shows, Heinrich Schenker's and Arnold Schoenberg's Harmonielehren adumbrate broader theories of composition based in part on a conception of the tone as a partly unconsciously perceived, living...
Journal Article
Journal of Music Theory (1 April 2017) 61 (1): 59–109.
Published: 01 April 2017
... especially worth thinking about in the ionably deconstructive Schenker” (Cook 2007, 64), and for context of my arguments is his statement that music is worse if we desire to “save Schenker as a philosopher” “true” (wahr) insofar as it is “something spontaneously (267). In my view, what Nicholas Cook...
Journal Article
Journal of Music Theory (1 April 2001) 45 (1): 204–227.
Published: 01 April 2001
... differ from Oswald Jonas’s, Ernst Oster’s, Carl Schachter’s, etc. Each of these Schenkers is subtly different—much as, from a listener’s point of view, Murray Perahia’s Chopin is not precisely the same com- poser as Krystian Zimerman’s. I cannot imagine that Schenker, who styled himself always as an...
Journal Article
Journal of Music Theory (1 October 2016) 60 (2): 97–148.
Published: 01 October 2016
..., Schenker, particularly in his later years, was famously hostile to any formal concepts drawn from the domain of thematic design: when it came to form, his concern was only with how large- scale prolongation and voice leading were—in the words of Michael Russ...
Journal Article
Journal of Music Theory (1 October 2006) 50 (2): 211–251.
Published: 01 October 2006
... parentheti- cal entrance of the rondo theme in E major. Schenker’s prose (1979, 101) refers to this moment as “a dreamlike digression into E major” and states that “it is like an awakening” when we return to VflÊ of the tonic E≤ major.11 In this case, the expansion of the dominant from V (strongly...
Journal Article
Journal of Music Theory (1 October 2016) 60 (2): 149–180.
Published: 01 October 2016
... has at most one pre-dominant function and one dominant, each of which may be prolonged by a series of chords.10 If a V chord occurs within a tonic 4 6 prolongation, say, via a I–V3–I progression, it does not have the same func...
Journal Article
Journal of Music Theory (1 October 1999) 43 (2): 231–255.
Published: 01 October 1999
... remaining fixed in memory, are acts of reconstruction, a perspective that encourages one to view music less as a collection of immutable structures and more as a subject for intentional creative perception. An analysis of Berg's Op. 2, No. 3 tests these ideas by bringing intentionalism and the biological...
Journal Article
Journal of Music Theory (1 October 2006) 50 (2): 253–275.
Published: 01 October 2006
... entirely in C major” ([1771–79] 1982, 128–29 n6 I use the term “dominant emula- 5  Heinrich Schenker ([1906] 1954, 254) addresses the 6  See the section “Non-modulatory analysis” in Damschro- necessity of retrospective interpretation—“ex post facto”— der 2008 (149–55) for an...
Journal Article
Journal of Music Theory (1 April 2016) 60 (1): 51–88.
Published: 01 April 2016
... Schumann , ed. Perrey Beate , 268 – 91 . Cambridge : Cambridge University Press . Drabkin William . 2002 . “Heinrich Schenker.” In The Cambridge History of Western Music Theory , ed. Christensen Thomas , 812 – 43 . Cambridge : Cambridge University Press . Draheim...
Journal Article
Journal of Music Theory (1 October 2006) 50 (2): 143–179.
Published: 01 October 2006
....” In Schenker Studies , ed. Hedi Siegel, 125 -45. Cambridge: Cambridge University Press. Morgan, Robert P. 1976 . “Dissonant Prolongation: Theoretical and Compositional Precedents.” Journal of Music Theory 20 : 49 -91. Notley, Margaret. 2005 . “Plagal Harmony as Other: Asymmetrical...
Journal Article
Journal of Music Theory (1 October 2008) 52 (2): 273–320.
Published: 01 October 2008
... -80. Bukofzer, Manfred. 1947 . Music in the Baroque Era from Monteverdi to Bach . New York: Norton. Burkhart, Charles. 1978 . “Schenker's `Motivic Parallelisms.' ” Journal of Music Theory 22 : 145 -75. Cinnamon, Howard. 1992 . “Third-Related Harmonies as Elements of Contrapuntal...
Journal Article
Journal of Music Theory (1 April 2014) 58 (1): 25–56.
Published: 01 April 2014
... not reached until the very end of the exposition (first ending, bars 9ff Thematically it features yet another variant of the main theme. In Roesner’s view, Schumann’s strategy seems “deliberately at odds” with clas- sical practice. Indeed, she claims he “negates the Classical tonal...
Journal Article
Journal of Music Theory (1 October 2002) 46 (1-2): 364–368.
Published: 01 October 2002
... generalities to which it has given rise and would do better to focus our critical attention on particular harmonic practices. It is nevertheless true that the article wasn’t written from a Schenker- ian point of view; given the topic, such an article would have been of lit- tle use to anyone...
Journal Article
Journal of Music Theory (1 October 2010) 54 (2): 235–282.
Published: 01 October 2010
... (Versetzung) on the dominant.1 The third phrase announces itself as one more displacement of the phrase, bringing it back to the tonic, but is cut off after only four measures by the sharp disso- nance intruding in m. 15. Although the melody continues as expected, the untimely entrance of the...
Journal Article
Journal of Music Theory (1 April 2006) 50 (1): 25–63.
Published: 01 April 2006
... . Review of Hucbald, Guido, and John on Music: Three Medieval Treatises, trans. Warren Babb, ed. Claude Palisca; and Commemoratio Brevis de Tonis et Psalmis Modulandis, trans. and ed. Terence Bailey. Journal of Music Theory 24/2 : 268 –77. Ayotte, Benjamin McKay. 2004 . Heinrich Schenker: A Guide...