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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 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 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 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. Alan Dodson is Assistant Professor of Music Theory at the University of British Columbia. His current research on rhythm and performance in tonal music is supported by a...
Includes: Supplementary data
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
... particular expression and—following Jacques Derrida’s notion of exappropriation—between proper and improper, and propriety and impropriety. Keywords Haydn, deconstruction, liquidation, cadence, exappropriation op. 33/5 opens with a cheeky veneer of propriety, but it does not take long to...
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
... Classical Cadence: Conceptions and Misconceptions.” Journal of the American Musicological Society 57 / 1 : 51 – 118 . ———. 2009 . “What Are Formal Functions?” In Musical Form, Forms, and Formenlehre , ed. Bergé Pieter , 21 – 40 . Leuven : Leuven University Press . ———. 2013...
Journal Article
Journal of Music Theory (1 April 2003) 47 (1): 125–154.
Published: 01 April 2003
... taken this position (see Cooper and Meyer 1960; Komar 1971).5 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...
Journal Article
Journal of Music Theory (1 April 2015) 59 (1): 1–61.
Published: 01 April 2015
... Operas .” Early Music 33/3 : 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...
Journal Article
Journal of Music Theory (1 October 2006) 50 (2): 181–210.
Published: 01 October 2006
... concentrate on events that divide the two expositions into smaller units, for example, phrase endings, cadences, modulations, and boundaries of prolonged harmonies. The dramatic arch of an exposition consists, among other things, of these kinds of articulating events...
Journal Article
Journal of Music Theory (1 October 2010) 54 (2): 235–282.
Published: 01 October 2010
... (I ), the subdominant (IV), and the cadential six-four chord (V4). With the arrival on this last sonority at the beginning of m. 17, one could expect the phrase to close with a half cadence (Quintabsatz, QA) in m. 18, thus achieving the length of four...
Journal Article
Journal of Music Theory (1 April 2018) 62 (1): 41–84.
Published: 01 April 2018
... . 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 Pieter Neuwirth Markus , 215 – 51 . Leuven : Leu-ven University Press...
Journal Article
Journal of Music Theory (1 April 1999) 43 (1): 101–133.
Published: 01 April 1999
... single 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...
Journal Article
Journal of Music Theory (1 April 2000) 44 (1): 100–126.
Published: 01 April 2000
.... Cadence. M. Hauptmann would have it that the satisfaction given by the cadence C-F-G-C is due to the key’s being pointed at from both sides, through a sounding of the tonic and its upper and lower dom- inants;8 complete closure is then achieved by restriking the tonic.9 Haupt- mann gives no clue...
Journal Article
Journal of Music Theory (1 October 2001) 45 (2): 233–261.
Published: 01 October 2001
...) as an elaboration of an Ursatz. But if a piece begins and ends in different keys, then the harmonic-contrapuntal structure may be based, from a Schenkerian standpoint, on some other model than the Ursatz, such as an auxiliary cadence or a plagal cadence, to name two possibilities.5 Pieces based...
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...