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Two Thoughts about the Piano

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Journal Article
Journal of Music Theory (2024) 68 (1): 165–171.
Published: 01 April 2024
... between two tones is artificial and is constructed by an active imagination” (91). Kim returns once again to piano pedagogy, invoking Heinrich Schenker's use of the word portamento to describe a particular set of performance gestures at the piano meant to invoke the continuous connecting of tones...
Journal Article
Journal of Music Theory (2006) 50 (2): 211–251.
Published: 01 October 2006
... mainly for his diminished-seventh chords, and thematic fragmentation. children) to Mozart’s wind concertos; Bartok’s cadenza for This cadenza is audible in the Philips Complete Mozart Mozart’s Concerto for Two Pianos in E≤ major, K. 365; and recording of the concerto. See also Badura...
Journal Article
Journal of Music Theory (2008) 52 (2): 181–218.
Published: 01 October 2008
... in the strings and filigree pas- which have been overlapped or interlaced; in effect, two sagework in the piano. separate variations are intertwined about their midpoints. ivanovich_11 (section) /home/jobs/journals/jmt/j6/ivanovich Mon Jan 4 11:45 2010 Rev.2.14 100% By: bonnie Page 1 of 2 pages...
Journal Article
Journal of Music Theory (2020) 64 (1): 37–61.
Published: 01 April 2020
... notational silences as acoustic ones. Keywords Elliott Carter, Intermittences, Two Thoughts about the Piano, Sound and Silence in Time, musi- cal silence in his final decade Elliott Carter (1908 2012) published, astonishingly, more than sixty compositions. In its emphasis on musical silence, Intermit...
Journal Article
Journal of Music Theory (2001) 45 (2): 457–469.
Published: 01 October 2001
... to fill two bars and too long to fit into a single measure. With two extra syllables, Schubert could have used a variation of the prototype presented in the piano introduction. Instead, he chose to suppress the second bar, and expanded the opening bar to three equal half notes. This is shown...
Journal Article
Journal of Music Theory (2005) 49 (2): 277–299.
Published: 01 October 2005
... versions of the A2 strain. The QRS piano-roll version features relatively little backbeating: each of the two disruptions (BBF = 2) is immediately corrected (BBS = 0). John- son’s OKeh Records performance of 1921,8 his first sound recording of the work, is, in contrast, especially intense: seven...
Journal Article
Journal of Music Theory (2023) 67 (1): 71–98.
Published: 01 April 2023
... Symphony and the two examples of the expanded type 1 already named (the op. 25 Piano Quartet and op. 101 Piano Trio), we find this feature in the Serenade no. 2 in A, op. 16; Violin Sonata no. 1 in G (the one further instance cited by Hepokoski and Darcy 2006 ); Piano Trio no. 2 in C, op. 87; Violin...
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Journal Article
Journal of Music Theory (2001) 45 (1): 162–169.
Published: 01 April 2001
... as g≥1–f≥1 in thirty-second notes, shows Chopin’s intent to extend or “tie-over” the f≤1 from bar 49 to bar 50 (I, 87–88). Though the analyses in The Masterwork in Music all demonstrate the profundity and originality of Schenker’s thought, they are not equally convincing. For example, two...
Journal Article
Journal of Music Theory (1999) 43 (1): 1–19.
Published: 01 April 1999
... give the upper register qualities not found lower down. Change of register on other instruments, however, is sometimes much more just a change of position. The keys of a piano are all the same two sizes, no matter where they are on the keyboard, and while the weight of the action varies...
Journal Article
Journal of Music Theory (2015) 59 (2): 191–234.
Published: 01 October 2015
...-twelve-tone facets of the music. With the aim of building on Child’s precedent, this last main sec- tion examines two movements: the second movement of the Twelfth String Quartet and the first movement of the Sonata for Violin and Piano. Though both contain numerous aggregate melodies, they each...
Journal Article
Journal of Music Theory (2001) 45 (1): 170–176.
Published: 01 April 2001
... in order to realize the first two areas 4. Commentaries (often polemical) on the state of performance These areas do not always have their own separate sections but, rather, are interspersed throughout the twelve chapters, each of which deals with various topics, such as “Legato” (Chapter 4...
Journal Article
Journal of Music Theory (1999) 43 (2): 283–314.
Published: 01 October 1999
... Jazz Piano. 10. The guitar-trio performance begins with an alternation between A≤maj7 and Gmaj7. The essential bass line of this introduction (A≤-G) is, of course, the same as that of the first two measures of Night and Day. But the chord qualities differ (the first two chords of Night...
Journal Article
Journal of Music Theory (2001) 45 (2): 233–261.
Published: 01 October 2001
..., the vocal part has still not sung D≥ since m. 2. The next time D≥ appears, in m. 13, it is in both the vocal and piano parts. As Example 6 shows, the vocal melody on the words “Haare weiß” compresses into the space of two beats the very sounds heard in mm. 1–2 on the words “Regenwand/ Phöbus sich gattet...
Journal Article
Journal of Music Theory (2023) 67 (2): 209–249.
Published: 01 October 2023
...,” the second of the five songs. Its first two twelve-tone chords combine the piano part and the voice such that intrachordal octave relations suggest a flexible treatment of displaced and fixed notes (or interval segments) in register. In the first twelve-tone chord ( Figure 1a ), two individual pitches...
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Journal Article
Journal of Music Theory (2014) 58 (1): 25–56.
Published: 01 April 2014
... sonata forms on a case-by-case basis with the same urgency as with his classical precursors. Even in a two-part exposition like that of the finale of the Piano Trio in F major, Schumann finds effective means to merge classical conventions with dialectical tonal strategies. I am grateful to James...
Journal Article
Journal of Music Theory (2021) 65 (2): 325–374.
Published: 01 October 2021
... at the short distance of an eighth note (so that the phase process can proceed slowly without taking too long). The rhythm of Figure 7 is thus a unique solution (combinatorial under eighth-note translation as opposed to sixteenth-note or quarter-note translation). Piano Phase exists in two versions...
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Journal Article
Journal of Music Theory (2022) 66 (1): 129–134.
Published: 01 April 2022
... are the two videos of Leong interviewing András Fejér, cellist of the Takács Quartet, about the piece. “Wide-eyed [and] enthused,” Fejér answers when Leong asks him for his own description of the chapter's rhythms, hands miming his meaning in a moment of charming revelation. The cyclicity of a rondo...
Journal Article
Journal of Music Theory (2004) 48 (2): 337–354.
Published: 01 October 2004
... that leads to thoughts of death. Other major pieces that Brahms completed around the time of drafting the early version of the Quartet include two pieces linked to his relation- ships with the Schumanns: the Piano Trio op. 8 and the Variations on a Theme by R. Schumann, op. 9. Brahms proudly told friends...
Journal Article
Journal of Music Theory (2000) 44 (2): 381–450.
Published: 01 October 2000
... material in the work. It is operatic, but neither a true recitatif nor a ‘scena.’ The best that words can do is perhaps say that the introduction provides a limpid pool of solo piano tone between two noisy bouts of orchestral texture . . . the piano is presented in its most frail and feminine...
Journal Article
Journal of Music Theory (1999) 43 (2): 231–255.
Published: 01 October 1999
... in mm. 1 and 2 of the piano accompaniment renotated in Example 6c. While the two contours differ, the ordered pitch classes in Example 6c map onto those in Example 6b when transposed three semitones. A matching, albeit hypothetical, inter- val/contour beginning on C≤, one with pitches...