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cadential

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Journal Article
Journal of Music Theory (2003) 47 (2): 305–323.
Published: 01 October 2003
...Jean-Paul C. Montagnier HEAVENLY DISSONANCES: THE CADENTIAL SIX-FOUR CHORD IN FRENCH GRANDS MOTETS AND RAMEAU’S THEORY OF THE ACCORD PAR SUPPOSITION Jean-Paul C. Montagnier By the 1620s, French musicians seem...
Journal Article
Journal of Music Theory (2013) 57 (1): 87–118.
Published: 01 April 2013
... of each segment, phrase, and period), cadential hemiolas emerge as consonant agents, in the large rhetorical scheme of things. These hemiolas, which intensify the end-accented beats, assert the notated meter, not the metrical displacement. In so doing, they either reinforce the basic metrical premise...
Journal Article
Journal of Music Theory (2018) 62 (1): 119–144.
Published: 01 April 2018
...Naomi Waltham-Smith Haydn is known for his playful (mis)use of cadential formulas. Examining examples of this predilection and processes of cadential liquidation, this article develops a theory of the use of musical material. This entails a deconstruction of the Adornian dialectic between generic...
Journal Article
Journal of Music Theory (2003) 47 (2): 325–362.
Published: 01 October 2003
... a phrase hierarchy articulated by the coun- terparts of the commas, colons, and periods, namely the cadential formu- las and the pitch hierarchies of the melody-types and modes. (Jonsson and Treitler 1983, 7) Although these writers, medieval and modern, are all dealing with chant and chant...
Journal Article
Journal of Music Theory (2003) 47 (2): 225–272.
Published: 01 October 2003
... or sentiment in the text,16 the dissonant chain originates from an early seventeenth-century technique of exten- sion through repetition of cadential figures—of what Rameau appropri- ately called “avoiding cadences while imitating them.”17 This technique is illustrated in simple strict-contrapuntal terms...
Journal Article
Journal of Music Theory (2009) 53 (2): 191–226.
Published: 01 October 2009
... cadential six-four chord. 2009 2009 Timothy Cutler is professor of music theory at the Cleveland Institute of Music. He is the creator of the Internet Music Theory Database ( www.musictheoryexamples.com ), a collection of roughly 1,500 categorized examples of tonal harmonic and contrapuntal...
Journal Article
Journal of Music Theory (2016) 60 (2): 149–180.
Published: 01 October 2016
..., but there is a clear distinction between the two types of V chord. On this point, Caplin is more precise. Differentiating between “prolongational” and “cadential” pro- gressions, he states that “the simple I–V–I progression is often better under- Simplified ([1893] 1896). See Harrison...
Journal Article
Journal of Music Theory (2010) 54 (2): 235–282.
Published: 01 October 2010
..., Wolfgang. 1983 . Grundlagen musikalischer Formen der Wiener Klassik: An Hand der zeitgenössischen Theorie von Joseph Riepel und Heinrich Christoph Koch dargestellt an Menuetten und Sonatensätzen (1750–1790) . Kassel: Bärenreiter. Caplin, William. 1987 . “The `Expanded Cadential Progression...
Journal Article
Journal of Music Theory (2008) 52 (2): 181–218.
Published: 01 October 2008
...Roman Ivanovitch The article examines a group of closing gestures in Mozart's piano concertos, passages of soloistic virtuosity just before the last tuttis of the exposition and recapitulation. Serving as grand cadential clinchers and clothed in conventional figuration, these spots—sometimes called...
Journal Article
Journal of Music Theory (2008) 52 (2): 273–320.
Published: 01 October 2008
... reflected in the hexatonic organization of mm. 1–67, in the A section's stormy chromatic transitions, and in the cadential gestures that permeate the B section and coda. Yale University 2008 Brent Auerbach is assistant professor of music theory at the University of Massachusetts Amherst...
Journal Article
Journal of Music Theory (2020) 64 (1): 1–36.
Published: 01 April 2020
... For empirical support for Caplin s hypotheses about lis- tener experience, see Vallières et al. 2009. 8 Caplin s (1998) references to expectation in Classical Form are mostly restricted to discussions of cadential deception, evasion, and avoidance. When explaining basic theme types, he explicitly deals...
Journal Article
Journal of Music Theory (2020) 64 (2): 203–240.
Published: 01 October 2020
... of cadential closure for a main theme.12 Even the expectation that a single theme would then be followed by TR derives from eighteenth-century practice, for if proliferation is a Romantic characteristic, then we would be more likely to expect a second primary theme rather than the launch of TR à la classical...
Journal Article
Journal of Music Theory (2003) 47 (1): 125–154.
Published: 01 April 2003
... Caplin (1987) has called an “expanded cadential progression”: a highly emphasized cadence which is clearly the primary authentic cadence in the second key area of the exposition. This brings us to an important fact about end-accented themes: a great many end-accented themes are closing themes...
Journal Article
Journal of Music Theory (2006) 50 (1): 103–110.
Published: 01 April 2006
... is contrasting to all previous phrases (though it ends with the same cadential harmony as P3), and P6 starts like P4 but ends differently; these resemblances are brought out by the paradigmatic analysis in Example 4. It is perhaps not too far-fetched to read...
Journal Article
Journal of Music Theory (2000) 44 (1): 81–99.
Published: 01 April 2000
... of diatonic sev- enth chords in this section. Section 3, on cadential expansion, explains how the dialectical stages can be enlarged and the entire process perpet- uated at different levels of musical structure. Section 4 moves beyond the confines of a single key to consider modulation, which Riemann...
Journal Article
Journal of Music Theory (2000) 44 (1): 100–126.
Published: 01 April 2000
... in another, more easily comprehensible form.15 In the progression I-IV-V-I, IV is therefore the real antithesis to I, and in what follows we shall always understand by antithesis this independent appearance of the lower dominant. For the other cadential forms, however, we shall retain the paraphrastic...
Journal Article
Journal of Music Theory (2006) 50 (2): 181–210.
Published: 01 October 2006
... cadences) at or around the mid-point of the expositional space; ends with a perfect authentic cadence in the new key, the essential expositional closure. 3) A post-cadential closing zone. Figure 2.  Continuous...
Journal Article
Journal of Music Theory (2015) 59 (2): 235–271.
Published: 01 October 2015
... to a tonal language—they per- haps understand tonality as a clarified version of modality, with fewer back- ground scales and a narrower range of cadential options. Certainly, the bal- lett, in its Italian, English, and German incarnations, is no longer strictly...
Journal Article
Journal of Music Theory (2013) 57 (2): 383–418.
Published: 01 October 2013
..., as in Schubert’s “Unfinished” Symphony/i) • Blocked MC: energetic TR runs into a blockage on a predominant or cadential 6/4, at which point texture and dynamics typically reduced and “a CF-like passage leads to a V: PAC elided or flush-juxtaposed with the onset of S” (47...
Journal Article
Journal of Music Theory (2007) 51 (1): 51–83.
Published: 01 April 2007
... of cadences, in different positions and using different chords. Cadential progressions  The next example shows cadences in which the space between the opening tonic and the dominant is partially “filled in” through a stepwise ascent. In partimento...