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Journal of Music Theory (2012) 56 (1): 87–120.
Published: 01 April 2012
...Ben Duane This article examines the phenomenon in which musical lines establish what Edward T. Cone calls virtual agents , making the argument that listeners are more likely to ascribe such agency to lines that have high information content (in the formal, information-theoretic sense). I use...
Journal of Music Theory (2013) 57 (2): 321–371.
Published: 01 October 2013
... at a fourfold hierarchy of fictional agent types—the individuated element , the work-persona , the fictional composer , and the analyst —the study then examines their relational logic, with special interest in (1) the ways that explicit agency claims at one level can spin off implicit claims at another and (2...
Journal of Music Theory (2013) 57 (1): 87–118.
Published: 01 April 2013
... of each segment, phrase, and period), cadential hemiolas emerge as consonant agents, in the large rhetorical scheme of things. These hemiolas, which intensify the end-accented beats, assert the notated meter, not the metrical displacement. In so doing, they either reinforce the basic metrical premise...
Journal of Music Theory (2015) 59 (2): 235–271.
Published: 01 October 2015
...; points of contact between them provide insight into precise agents of musical change around the turn of the seventeenth century. Megan Kaes Long is assistant professor of music theory at the Oberlin College Conservatory of Music. © 2015 by Yale University 2015 Thomas Morley Giovanni...
Journal of Music Theory (2020) 64 (2): 283–291.
Published: 01 October 2020
... of virtuality from 1902 by the founder of semiotics, Charles Sanders Peirce: A virtual X . . . is something, not an X, which has the efficiency (virtus [literally, strength]) of an X (quoted on 1). A virtual agent in music is not an actual agent, Hatten explains, but its efficiency lies in its capacity...
Journal of Music Theory (2009) 53 (1): 95–136.
Published: 01 April 2009
...). Following a long analytical tradition, though, Almén tends to privilege syntax in developing musical narratives: we track harmonies, voice leading, and formal structures as if they were agents in a musical plot. As thrilling as it can be to see music’s “full analogy to our inner life...
Journal of Music Theory (2020) 64 (1): 123–136.
Published: 01 April 2020
... of Cox s argument that are less parsimonious. For example, in considering the idea of musical agency from the perspective of mimetic participation, Cox claims that we transfer what we would normally do from a first-person perspective to some imagined agent who is vicariously doing that same thing...
Journal of Music Theory (1999) 43 (2): 257–281.
Published: 01 October 1999
....; exclusive selling agent for the United States and Canada, Warner Bros. Publications, 1976) Example 3. “Hymn of the Seventh Galaxy,” mm. 84–92. From Chick Corea (Litha Music Co.; exclusive selling agent for the United States and Canada, Warner Bros. Publications. 1976...
Journal of Music Theory (2017) 61 (1): 59–109.
Published: 01 April 2017
..., as did Kant and his philosophical progeny, is to show how action itself—which presupposes the agent’s power to take on responsibilities and obligations, to assess the correctness of conduct, and to hold certain considerations to be decisive—entails subordination to norms of deliberation...
Journal of Music Theory (2022) 66 (2): 291–302.
Published: 01 October 2022
...) argues, “a kind of broken tonality . . . returns again and again to the traumatic loss of wholeness that pre-modernist music was able to rely on.” Harrison's schematic mapping (fig. 4.12, p. 116) of potential coloring agents (added sixths or sevenths, e.g.) within “amplified-tonic” chords represents...
Journal of Music Theory (2000) 44 (2): 323–379.
Published: 01 October 2000
..., (2) the goal, (3) the path leading from source to goal, (4) the trajectory of motion, and (5) the force propelling the motion. Relevant entailments of the source- path-goal schema include the following: (1) Motion is carried out by an agent who wills the motion to take place. (2) Goal...
Journal of Music Theory (2023) 67 (1): 99–139.
Published: 01 April 2023
... the most obvious answer would be to distinguish the agents traversing the space: the composer on one hand, and the performer on the other. For example, we might argue that we know that Richard Cohn's ( 2011 : 134–38) Tonnetz-based spatial model of the development section of the first movement of Dvořák's...
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Journal of Music Theory (2010) 54 (1): 121–140.
Published: 01 April 2010
... of the object shimmers through: that in the object which is not a subjective addition. Subject is the agent, not the constituent, of object. (254) Such an encounter with the object beyond what Adorno calls the “weave of forms cast by the subject...
Journal of Music Theory (2022) 66 (1): 129–134.
Published: 01 April 2022
... correspondence that move back and forth among theorists, performers, and others during collaboration of the type the book engages. It's also in this last pair of chapters that Leong introduces the concepts of shared goal (as the output of cross-disciplinary collaboration) and shared agent (e.g., theorist...
Journal of Music Theory (2015) 59 (1): 99–119.
Published: 01 April 2015
... as the prin- cipal agent of passionate expression. Largely on this basis, he outlines in book 11 a theory of what he terms “accents of the passions,” essentially the vocal inflections that singers use to convey emotional states to listeners. The accents of the passions, together with other elements...
Journal of Music Theory (2020) 64 (1): 137–143.
Published: 01 April 2020
... that the instrument might not be an autonomous agent, but in a sense, neither am I (80 81). These are the aporias of the posthuman age. How can we think of the performer and the instrument as a true hybrid, a real cyborg? There are philosophical movements under way that address this problem. Harman (2005) opens up...
Journal of Music Theory (2014) 58 (1): 1–24.
Published: 01 April 2014
... assumed from the start or does, in fact, assume later in the fugue. The subject, it turns out, is not a single entity with a fixed design and structure but, rather, a set of possibilities. Moreover, it may be heard as a dramatic agent that, on close inspection, seems to demand its own...
Journal of Music Theory (2013) 57 (2): 373–381.
Published: 01 October 2013
... notion of a mobile “network” by which knowledge is seen as a fungible complex that is conveyed and controlled by multiple local “agents” (McLuhan 1964). This would help explain the many variants we find; teach- ers (or students) evidently would add, rearrange...
Journal of Music Theory (2016) 60 (2): 213–262.
Published: 01 October 2016
... ). ♯ This major second relation also appears on a yet grander scale in the♭ trans- position of the initial B –C accompaniment down a whole step to G –A in ♯ m. 34. In other words, the♭ diatonic♭ agent (major second...
Journal of Music Theory (2011) 55 (2): 271–281.
Published: 01 October 2011
... ( ) that project the affec- ♮ tive import of the poem. In his commentary, however,♭ McKinney draws atten- tion not to the signature positions but rather to the diatonic modes as the prime agents of affective signification. After...