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cadence

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Journal Article
Journal of Music Theory (1 October 2003) 47 (2): 325–362.
Published: 01 October 2003
... Musiktheorie 5. Darmstadt: Wissenschaftliche Buchgesellschaft. Schrade, Leo, ed. 1956 . Polyphonic Music of the Fourteenth Century, Vols. 2-3: The Works of Guillaume de Machaut. Les Ramparts, Monaco: Editions de L'Oiseau Lyre. THEORIZING THE CADENCE IN THE MUSIC OF MACHAUT...
Journal Article
Journal of Music Theory (1 April 2011) 55 (1): 1–41.
Published: 01 April 2011
... harmonic procedure, tintinnabulation, sometimes governs melodic procedure and has melodic meaning while also making it possible to define and recognize harmonic areas, distinctions among harmonies, and systematic reasons for cadences. For instance, transformational expressions for Passio show the...
Journal Article
Journal of Music Theory (1 April 2009) 53 (1): 57–94.
Published: 01 April 2009
... arrival of events of long-range structural importance such as cadences that provide tonal and formal closure at the deepest level. Yale University 2009 Alan Dodson is Assistant Professor of Music Theory at the University of British Columbia. His current research on rhythm and performance in tonal music...
Includes: Supplementary data
Journal Article
Journal of Music Theory (1 October 2006) 50 (2): 211–251.
Published: 01 October 2006
... simultaneously as a local, harmonic event and as a global, formal event. On the local level, it may either prolong one harmony or progress from one to another. On the global level, it can serve a variety of formal functions: highlighting salient cadences; opening a space for virtuosic display; and developing...
Journal Article
Journal of Music Theory (1 October 2015) 59 (2): 235–271.
Published: 01 October 2015
...-dominant chords at cadences (yielding tonic–pre-dominant–dominant–tonic syntax) more regularly than his models do. Finally, in the rare instances that he chooses models without periodic phrase structure, Morley introduces periodicity. Morley's recompositions contribute to the tonal sound that, historically...
Journal Article
Journal of Music Theory (1 April 2015) 59 (1): 63–97.
Published: 01 April 2015
... the deepest level of tonal hierarchy, at which two Ursätze in different keys are joined together at the same hierarchical level. In the process, I offer a slight adaptation of the Schenkerian background paradigms to accommodate the imperfect authentic cadence with 3 ^ in the soprano, which in Russian...
Journal Article
Journal of Music Theory (1 April 2019) 63 (1): 1–34.
Published: 01 April 2019
... important tonal events such as prolongations and cadences. Using diatonic position finding to aid the analyst in determining a chord’s status, the article offers five preference factors to identify the most likely triadic tonicizers. This leads to some general conclusions regarding tonicizing chords...
Journal Article
Journal of Music Theory (1 April 2018) 62 (1): 119–144.
Published: 01 April 2018
... convention and particular expression and—following Jacques Derrida’s notion of exappropriation—between proper and improper, and propriety and impropriety. Copyright © 2018 by Yale University 2018 Haydn deconstruction liquidation cadence exappropriation Works Cited Adorno Theodor W . 1982...
Journal Article
Journal of Music Theory (1 April 2006) 50 (1): 103–110.
Published: 01 April 2006
... P6. The cadences of the phrases give at least provisional support for this view David Temperley    Key Structure in “Das alte Jahr vergangen ist” 107 as well: examining just the final harmony of each phrase, we find a pattern of d / d / A / d / A / E. (All of these are authentic...
Journal Article
Journal of Music Theory (1 April 2006) 50 (1): 65–76.
Published: 01 April 2006
... paired in terms of rhythm, and phrase three is a varied repetition of phrase one. Cadence points are on the normal pitches for the dorian mode, F, A, and D, here approached with the raised leading-tone.2 The second through fourth phrases demonstrate a unity of...
Journal Article
Journal of Music Theory (1 October 2016) 60 (2): 149–180.
Published: 01 October 2016
... Schenkerian Approach . 3rd ed. New York : Oxford University Press . Caplin William . 1998 . Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven . New York : Oxford University Press . ———. 2004 . “The Classical Cadence: Conceptions and...
Journal Article
Journal of Music Theory (1 April 2003) 47 (1): 125–154.
Published: 01 April 2003
... Lerdahl and Jackendoff (1983, 25–34) argue persuasively, however, that this latter view arises from a confusion between different kinds of accent. The end of a phrase is often the site of a structurally important event such as a cadence, sig- nalling tonal arrival and closure; however, such...
Journal Article
Journal of Music Theory (1 April 2015) 59 (1): 1–61.
Published: 01 April 2015
... : 473 – 93 . Hansell Sven Hostrup . 1968 . “ The Cadence in Eighteenth-Century Recitative .” Musical Quarterly 54/2 : 228 – 48 . Harel Gilad . 2012 . “ Expressivities, Modulation, and Structure in the Recitatives of Johann Sebastian Bach’s Weimar Cantatas and St. John Passion...
Journal Article
Journal of Music Theory (1 October 2006) 50 (2): 181–210.
Published: 01 October 2006
... scenes, sequences of events that constitute sorts of nar- rative arches. Because in this study I examine primarily the large-scale orga- nization, I concentrate on events that divide the two expositions into smaller units, for example, phrase endings, cadences...
Journal Article
Journal of Music Theory (1 October 2010) 54 (2): 235–282.
Published: 01 October 2010
... Nebraska Press. Schmalfeldt, Janet. 1992 . “Cadential Processes: The Evaded Cadence and the `One More Time' Technique.” Journal of Musicological Research 12 : 1 -52. Sisman, Elaine. 1993 . Haydn and the Classical Variation . Cambridge, MA: Harvard University Press. Spitzer, Michael. 2004...
Journal Article
Journal of Music Theory (1 April 2018) 62 (1): 41–84.
Published: 01 April 2018
...’ Sonata .” Eighteenth-Century Music 10 / 2 : 213 – 52 . Byros Vasili . 2015a . “ ‘Hauptruhepuncte des Geistes’: Punctuation Schemas and the Late-Eighteenth-Century Sonata .” In What Is a Cadence? Theoretical and Analytical Perspectives on Cadences in the Classical Repertoire , ed. Bergé...
Journal Article
Journal of Music Theory (1 April 1999) 43 (1): 101–133.
Published: 01 April 1999
... octave, “Tonraum,” the quintessential melodic space in the background, is effectively limited to an octave.3 In strict species coun- terpoint, the cantus firmus must begin and end on the tonic (or modal final), and cadences in two voices require arrival at an octave or unison via contrary stepwise...
Journal Article
Journal of Music Theory (1 April 2000) 44 (1): 100–126.
Published: 01 April 2000
... Wagner’s peculiar forms with reference to these same principles. [8] With this view toward a creative life of the greatest formal abun- dance, we now set foot upon the difficult and somewhat barren path of theory.6 I. Harmonic Logic.7 [9] 1. Cadence. M. Hauptmann would...
Journal Article
Journal of Music Theory (1 October 2001) 45 (2): 233–261.
Published: 01 October 2001
... . “Alternatives to Monotonality in Early Nineteenth-Century Music.” Journal of Music Theory 25/1 : 1 -16. ____. 1991 . “Tonal and Formal Dualism in Chopin's Scherzo, Op. 31.” Music Theory Spectrum 13/1 : 48 -60. Laufer, Edward. 1999 . “Notes on the Auxiliary Cadence.” Paper read at the Third...
Journal Article
Journal of Music Theory (1 October 2003) 47 (2): 305–323.
Published: 01 October 2003
... of this harmonic cadence structure undoubtedly proved dull through constant usage, it should be recognized that ornamentation provided the medium through which boredom was avoided. There is scarcely a cadence that does not carry above it the indication for at least one ornament, and...