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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
... Intermittences Two Thoughts about the Piano “Sound and Silence in Time ” musical silence Works Cited Bibliography Bernard Jonathan W . 1983 . “ Spatial Sets in Recent Music of Elliott Carter .” Music Analysis 2 , no. 1 : 5 – 34 . Bernard Jonathan W . 1995 . “ Elliott Carter...
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
... 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 Sonata no. 2...
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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...
View articletitled, The Masterwork in Music: A Yearbook , 3 Vols. Heinrich Schenker Edited by William Drabkin Translated by Ian Bent, Alfred Clayton, William Drabkin, Richard Kramer, Derrick Puffet, John Rothgeb, and Hedi Siegel Studies in Music Theory and Analysis Vols. 5, 8, and 10 Ian Bent, General Ed. New York: Cambridge University Press, 1994, 1996, 1997
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for article titled, The Masterwork in Music: A Yearbook , 3 Vols. Heinrich Schenker Edited by William Drabkin Translated by Ian Bent, Alfred Clayton, William Drabkin, Richard Kramer, Derrick Puffet, John Rothgeb, and Hedi Siegel Studies in Music Theory and Analysis Vols. 5, 8, and 10 Ian Bent, General Ed. New York: Cambridge University Press, 1994, 1996, 1997
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...
View articletitled, The Art of Performance Heinrich Schenker Edited by Heribert Esser Translated by Irene Schreier Scott New York: Oxford Univ. Press, 2000 Xxvii, 101 Pp.
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for article titled, The Art of Performance Heinrich Schenker Edited by Heribert Esser Translated by Irene Schreier Scott New York: Oxford Univ. Press, 2000 Xxvii, 101 Pp.
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
... consider three increasingly complex registral relations in the song “Rycerze,” 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...
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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 (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 (2021) 65 (2): 325–374.
Published: 01 October 2021
... West and Central African traditions. Michael Tenzer ( 2019 ) observes that the generated rhythms of Phase Patterns and Six Pianos are typical of Balinese kotekan (interlocking patterns) that Reich studied in the early 1970s. Therefore there are two possible explanations of how Reich's rhythmic...
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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 (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...
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...
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