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Journal of Music Theory (2000) 44 (1): 100–126.
Published: 01 April 2000
... evolve from the simplest principle of thesis, antithesis, and synthesis, corresponding to the Hauptmannian octave-, ﬁfth-, and third-concept.  We shall likewise discern variety in the expressive use of these principles—an entirely varied periodic structure, for example, in the music of Mozart...
Journal of Music Theory (2000) 44 (1): 81–99.
Published: 01 April 2000
... T = thesis T5 = thetic fifth A = antithesis T3 = thetic third S = synthesis T (A) T5 (S) T3 TA S Example 1. Riemann’s Interpretation of the große Cadenz both the upper...
Journal of Music Theory (1999) 43 (1): 83–99.
Published: 01 April 1999
... these responses to the paradox all fail, although it is in- structive to consider each. To restate, the paradox depends on both of the following being true: Thesis. A successful analysis contains only the information borne by a corresponding hearing. Antithesis. A successful analysis is informative...
Journal of Music Theory (2000) 44 (2): 487–494.
Published: 01 October 2000
... of Scruton’s sec- ondary object, the domain of sound, not the tertiary object, the domain of musical works. Indeed, to insist on having your tools with you all the time may cause you, for example, “to promote deviant ways of hearing (atonal) music.” “Hearing that” may well be the antithesis of “hearing...
Journal of Music Theory (2012) 56 (2): 285–291.
Published: 01 October 2012
... den Toorn and I are cast somewhat in the roles of thesis and antithesis. We have squawked at each other, God knows, but always with a sense of common purpose that Horlacher, blessed peace- maker that she is, gratifyingly vindicates. In sum, Horlacher’s approach seems to me an exemplary...
Journal of Music Theory (2011) 55 (1): 89–146.
Published: 01 April 2011
... be to designate a relation of colors aspectral or acomplementary. There is no such antithesis” (HL, 432). The idea that music is made of tones is hardly noteworthy. What is sig- nificant, though, is the particular structure of Schenker’s and Schoenberg’s conception of tones. To begin...
Journal of Music Theory (2017) 61 (2): 171–200.
Published: 01 October 2017
... to underscore the nature of the dominant repeat of the opening theme at the double bar as an antithesis to the original theme, thus highlighting the har- monic difference by means of close juxtaposition.23 20 Koch’s example for a modified return is his own. His reflects the challenges presented...
Journal of Music Theory (2016) 60 (2): 149–180.
Published: 01 October 2016
... this concept of function beginning–middle–end paradigm to the Schenkerian Ursatz and Riemann’s early theory of “function as abstract cate- associates the middle with the V chord. Schenkerian the- gory,” in which the Hegelian thesis-antithesis-synthesis ory, of course, does not acknowledge the existence...
Journal of Music Theory (2009) 53 (1): 1–56.
Published: 01 April 2009
... operations toggle between in his antithesis pair in his dialectical system. Babbitt analyses (presence of an attack vs. absence of an attack on a particular time point, or a performer’s participation 18 Journal of Music Theory one...