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agent

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Journal Article
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 a...
Journal Article
Journal of Music Theory (2013) 57 (2): 321–371.
Published: 01 October 2013
... 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...
Journal Article
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 Article
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 Article
Journal of Music Theory (2020) 64 (2): 283–291.
Published: 01 October 2020
... . www.mtosmt.org/issues/mto.18.24.3/toc.24.3.html . Robinson Jenefer , and Hatten Robert S. . 2012 . “ Emotions in Music .” Music Theory Spectrum 34 , no. 2 : 71 – 106 . Taruskin Richard . 2014 . “ Agents and Causes and Ends, Oh My .” Journal of Musicology 31...
Journal Article
Journal of Music Theory (2009) 53 (1): 95–136.
Published: 01 April 2009
Journal Article
Journal of Music Theory (2020) 64 (1): 123–136.
Published: 01 April 2020
... that we transfer what we would normally do from a first-person perspective to some imagined agent who is vicariously doing that same thing in the music. We do this to main- tain our identity as something separate from the sounds to which we are listen- ing. We attribute our own desires and...
Journal Article
Journal of Music Theory (1999) 43 (2): 257–281.
Published: 01 October 1999
... (Litha Music Co.; 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...
Journal Article
Journal of Music Theory (2020) 64 (1): 137–143.
Published: 01 April 2020
.... Perhaps most poignantly, De Souza explains 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...
Journal Article
Journal of Music Theory (2017) 61 (1): 59–109.
Published: 01 April 2017
... 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 and...
Journal Article
Journal of Music Theory (2000) 44 (2): 323–379.
Published: 01 October 2000
... 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 states tend to be maximally or minimally stable within a local context. (3) Lower-level goals tend to be...
Journal Article
Journal of Music Theory (2011) 55 (2): 271–281.
Published: 01 October 2011
...) and cantus mollis ( ) 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...
Journal Article
Journal of Music Theory (2013) 57 (2): 373–381.
Published: 01 October 2013
... “agents” (McLuhan 1964). This would help explain the many variants we find; teach- ers (or students) evidently would add, rearrange, or substitute material to fit their pedagogical needs or interests.2 One must admit that there is little in the...
Journal Article
Journal of Music Theory (2016) 60 (2): 213–262.
Published: 01 October 2016
Journal Article
Journal of Music Theory (2010) 54 (1): 121–140.
Published: 01 April 2010
... primacy 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...
Journal Article
Journal of Music Theory (2015) 59 (1): 99–119.
Published: 01 April 2015
... voice 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...
Journal Article
Journal of Music Theory (2016) 60 (2): 295–305.
Published: 01 October 2016
...) directly to the music rather than attributing tension to a middle man, a fictional agent represented (i.e., prescribed for imagining) by the music. Likewise in “Thoughtwriting—in Poetry and in Music,” Walton seeks to eliminate the middle man by raising the possibility that music’s listeners, rather...
Journal Article
Journal of Music Theory (2006) 50 (1): 128–139.
Published: 01 April 2006
...), his aim is not to write just about music, but about music history. Musicians and their work can have a history only insofar as historians compose it, and historians need to consider all manner of human agents (and their institu- tions) whose actions have effect upon musical culture. Thus, why...
Journal Article
Journal of Music Theory (2008) 52 (1): 159–180.
Published: 01 April 2008
Journal Article
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...