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Published: 01 April 2021
Image 10. From Playford 1698 . The first bar line in the last system is extraneous. Image 10. From Playford 1698. The first bar line in the last system is extraneous. More
Journal Article
Journal of Music Theory (2003) 47 (1): 155–214.
Published: 01 April 2003
... literature.6 In 1948,Adorno observed that a musical quotation from Schoenberg’s op. 6, no. 6 song, “Am Wegrand,” occurs at bars 411–12 in Erwartung when the woman sings the text “Tausend Menschen ziehn vorüber” (“Thousands of people march past a phrase originating in the earlier song.7 Adorno’s finding...
Journal Article
Journal of Music Theory (2013) 57 (1): 87–118.
Published: 01 April 2013
... Displacement in the Fugue of Brahms’s Handel Variations: The Refashioning of a Traditional Device .” Studies in Music from the University of Western Ontario 13 : 1 – 20 . Burkhart Charles . 1994 . “ Mid-bar Downbeat in Bach’s Keyboard Music .” Journal of Music Theory Pedagogy 8 : 3 – 26...
Journal Article
Journal of Music Theory (2005) 49 (2): 277–299.
Published: 01 October 2005
... IN JAMES P. JOHNSON’S “CAROLINA SHOUT” Henry Martin It is often thought that improvisation defines jazz. But improvisation on chorus forms is less common in the jazz of the early 1920s, which often makes use of the sixteen-bar strain...
Journal Article
Journal of Music Theory (2001) 45 (1): 162–169.
Published: 01 April 2001
...- els. His discussion of the last few bars of Chopin’s Etude in E≤ Minor, Op. 10, No. 6, can serve to illustrate Schenker’s extraordinary ability to combine motivic, rhythmic, and voice-leading analysis, with manuscript study and advice to performers. Figure 2 shows Schenker’s foreground graph of mm...
Journal Article
Journal of Music Theory (2007) 51 (1): 51–83.
Published: 01 April 2007
Journal Article
Journal of Music Theory (2021) 65 (1): 81–106.
Published: 01 April 2021
...Image 10. From Playford 1698 . The first bar line in the last system is extraneous. Image 10. From Playford 1698. The first bar line in the last system is extraneous. ...
FIGURES | View All (17)
Journal Article
Journal of Music Theory (2000) 44 (1): 45–79.
Published: 01 April 2000
... Key to * a. ‘still in force’ from 13.2 b. ‘still in force’ from 13.2 Example 1. Pour ce que tous (B12) bars 13-14 As simple counterpoint does not include dissonances, the next stage of analysis requires that the dissonances be treated as surface...
Journal Article
Journal of Music Theory (2000) 44 (1): 236–249.
Published: 01 April 2000
... and Tchaikovsky is properly considered. (The trick in what Hugh Macdonald used to call the “Russian 6th,” its locus classicus the second bar of Tatyana’s “Letter scene” refrain in Eugene Onegin, is that it actually omits the augmented 6th, that is ≥4ˆ, thus leaving no note rising to the dominant—a blue moment...
Journal Article
Journal of Music Theory (2013) 57 (1): 47–85.
Published: 01 April 2013
..., for example, whether the sequence “1 2 3 1” describes an incomplete four-bar hypermeasure or a complete three-bar hypermeasure. Awareness of orientation with respect to a hypermeasure that is not present on the musical surface can be sharpened...
Journal Article
Journal of Music Theory (2014) 58 (2): 103–154.
Published: 01 October 2014
... of the pentameter plus one for the end stop; Schu­ bert also pauses in the sixth unit (assuming a binary, long-short division of the bar) but makes the end stop even longer by adding an echoing bar in the accompaniment. 5  Linguists use the term intonation for that part...
Journal Article
Journal of Music Theory (2017) 61 (2): 143–170.
Published: 01 October 2017
... variables—indicated via a dollar sign prefix and necessarily defined on another line in the encoded song—or terminals, such as chord symbols (e.g., V) and bar lines (indicated by a pipe symbol The variable S, located at the end of the file, is used to denote...
Journal Article
Journal of Music Theory (2011) 55 (2): 221–251.
Published: 01 October 2011
... to be defined. Throughout his theoretical writing he refers to two types of musical utter- ance. First is the Satz, a closed musical statement as in an eight-bar period or a larger unit such as a sonata’s first or second theme group; it can also denote...
Journal Article
Journal of Music Theory (2019) 63 (2): 231–260.
Published: 01 October 2019
... the pulses from fastest to slowest and to use numbers to count the time points that fill a span, with 1 designating the slowest span pulse.12 Thus, given a conventional bar of 12/8 meter in Figure 1, Cohn would repre- sent the pulse set as {w. h. q. e} or (12, 6, 3, 1), with each number representing Figure 1...
Journal Article
Journal of Music Theory (2020) 64 (1): 1–36.
Published: 01 April 2020
...-classical work from the 1860s. It begins with the two- bar basic idea pictured on the left side of Example 1. Let us assume that the theme that will grow from this idea will be of a normative eight-bar length. If so, you are now halfway through the beginning of the theme. What formal function...
Journal Article
Journal of Music Theory (2000) 44 (2): 381–450.
Published: 01 October 2000
... “contrasting derivation” (1991, 96).7 Motivic parallelisms in Schenker’s sense, or subthematicism in Réti’s, might also characterize such a contrasting relationship. The entry theme at m. 100 of Mozart’s C-Minor Concerto K. 491 meets all of these crite- ria. It is very nearly a conventional sixteen-bar...
Journal Article
Journal of Music Theory (1999) 43 (2): 283–314.
Published: 01 October 1999
...) that is transposed to create the pick- notes to the next four-bar section (D-C A-G). The next four measures repeatedly cycle through our motives. The A- G at the end of measure 4 circles around the A≤ that begins measure 5. That A≤ begins an ascending-seventh arpeggio. Its G makes a descending stepwise...
Journal Article
Journal of Music Theory (2001) 45 (2): 457–469.
Published: 01 October 2001
... to notate the meter as 4/4 as opposed to 2/4, but recognizes that impor- tant groupings begin halfway through the bar (e.g., in mm. 4, 5ff., and 11–13). As shown in Figure 1, which reproduces Schachter’s example 3.4 (pp. 90–91), his durational reductions have two forms—the lower one follows the notated...
Journal Article
Journal of Music Theory (2002) 46 (1-2): 364–368.
Published: 01 October 2002
... eindringen könnte. Nothing bars us from imagining in chromatic terms an apparent tonic [Tonart] on each of these scale degrees, such that mixture, an ever present compositional resource, can yet once again permeate what are not in fact actual tonics. This is a somewhat free translation...
Journal Article
Journal of Music Theory (2002) 46 (1-2): 347–363.
Published: 01 October 2002
... eindringen könnte. Nothing bars us from imagining in chromatic terms an apparent tonic [Tonart] on each of these scale degrees, such that mixture, an ever present compositional resource, can yet once again permeate what are not in fact actual tonics. This is a somewhat free translation...