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cadence

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Journal Article
Journal of Music Theory (2003) 47 (2): 325–362.
Published: 01 October 2003
... THE CADENCE IN THE MUSIC OF MACHAUT Jennifer Bain Most aspects of medieval culture reflect a model of hierarchical order- ing: the feudal system that places a lord above his vassal; the class sys- tem that places nobility above the peasants; the political system...
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Published: 01 April 2021
Figure 2. Enhanced metrical map of variation 1 (Blue Bird). HC, half cadence; IAC, imperfect authentic cadence; PAC, perfect authentic cadence. Figure 2. Enhanced metrical map of variation 1 (Blue Bird). HC, half cadence; IAC, imperfect authentic cadence; PAC, perfect authentic cadence. More
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Published: 01 April 2021
Figure 4. Parallel dance cadences mark the ends of the Vordersatz phrases, mm. 126, 137. Figure 4. Parallel dance cadences mark the ends of the Vordersatz phrases, mm. 126, 137. More
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Published: 01 April 2021
Figure 3. Metrical map of variations 1–5 from the prologue pas de six . IAC, imperfect authentic cadence; PAC, perfect authentic cadence Figure 3. Metrical map of variations 1–5 from the prologue pas de six. IAC, imperfect authentic cadence; PAC, perfect authentic cadence More
Journal Article
Journal of Music Theory (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 (2011) 55 (1): 1–41.
Published: 01 April 2011
... 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 interpenetration...
Journal Article
Journal of Music Theory (2009) 53 (1): 57–94.
Published: 01 April 2009
... of events of long-range structural importance such as cadences that provide tonal and formal closure at the deepest level. Metrical Dissonance and Directed Motion in Paderewski’s Recordings of Chopin’s Mazurkas Alan Dodson Abstract...
Includes: Supplementary data
Journal Article
Journal of Music Theory (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 (2015) 59 (1): 63–97.
Published: 01 April 2015
... to 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 church...
Journal Article
Journal of Music Theory (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 (2020) 64 (2): 203–240.
Published: 01 October 2020
..., such as form-functional contrast among P, S, C, and coda; characteristics that signal end-of-the-beginning versus end-of-the-end functions for cadences; the interaction of tonal pairing and formal design; and Dvořák’s recapitulatory reinterpretations of his expositional strategies. The analyses illustrate...
Journal Article
Journal of Music Theory (2006) 50 (1): 103–110.
Published: 01 April 2006
... this as a structure of A–A–B–A–B–A. Though P1 and P2 have almost nothing in common with P6, they are indirectly related by their similarity to P4, which ends similarly to P1/P2 and begins similarly to P6. The cadences of the phrases give at least provisional support...
Journal Article
Journal of Music Theory (2006) 50 (1): 65–76.
Published: 01 April 2006
... 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 purpose...
Journal Article
Journal of Music Theory (2020) 64 (1): 1–36.
Published: 01 April 2020
... of a conventional set of initiating, medial, and ending intrathematic functions. It must close with a cadence. This is not to be confused with the more traditional defini- tion of a theme as the musical material on which part or all of a work is based and that gives a work its identity (Drabkin 2001). 7...
Journal Article
Journal of Music Theory (2016) 60 (2): 149–180.
Published: 01 October 2016
... . “The 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 (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 (2006) 50 (2): 181–210.
Published: 01 October 2006
... 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, modulations, and boundaries...
Journal Article
Journal of Music Theory (2003) 47 (1): 125–154.
Published: 01 April 2003
..., 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 “structural accents” may or may...
Journal Article
Journal of Music Theory (2015) 59 (1): 1–61.
Published: 01 April 2015
... 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 Cantatas and St. John...
Journal Article
Journal of Music Theory (1999) 43 (1): 101–133.
Published: 01 April 1999
..., “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 motion...