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chorale

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Journal Article
Journal of Music Theory (2006) 50 (1): 103–110.
Published: 01 April 2006
...David Temperley My discussion of Bach's chorale prelude “Das alte Jahr vergangen ist” centers on its key structure: the hierarchical arrangement of keys in the piece and the relationships between them. In the course of this discussion, I make a number of observations about the nature of key...
Journal Article
Journal of Music Theory (2006) 50 (1): 65–76.
Published: 01 April 2006
...William Renwick This essay discusses tonal ambiguity in the chorale melody “Das alte Jahr” and suggests a poetic interpretation of Bach's chorale. Expressive elements such as the passus duriusculus , the sospiro , and pervasive chromaticism are woven into a radical tonal plan that reflects...
Journal Article
Journal of Music Theory (2006) 50 (1): 77–101.
Published: 01 April 2006
...Marianne Kielian-Gilbert Intensely chromatic and tonally open, Bach's chorale prelude “Das alte Jahr vergangen ist,” BWV 614, suggests different contexts of reception “as-music-analysis.” I imagine a reception of the prelude as liturgical-musical contemplation and religious experience. I construe...
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Published: 01 October 2022
Example 2. Chopin, Fantasy , mm. 127–43, exposition's closing theme: march integrated with chorale. More
Journal Article
Journal of Music Theory (2015) 59 (1): 63–97.
Published: 01 April 2015
...—the New Russian Choral School. With this theoretical and historical background, I then give a detailed analysis of movement 12, showing that (1) Rachmaninoff inherits mutability from the standard musical practice of the Russian church and (2) mutable relationships penetrate the work from the foreground...
Journal Article
Journal of Music Theory (2022) 66 (2): 189–222.
Published: 01 October 2022
...Example 2. Chopin, Fantasy , mm. 127–43, exposition's closing theme: march integrated with chorale. ...
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Published: 01 October 2022
Example 6. Chopin, Nocturne in C minor, op. 48/1, mm. 49–52 (segment of the “dynamized” reprise, fusing four topics: recitative-declamation, chorale, march, and tempest/whirlwind). More
Journal Article
Journal of Music Theory (2010) 54 (1): 25–36.
Published: 01 April 2010
... that the 1803 movement precedes. The historical order would make a difference. For example, the movement’s second theme is an instrumental chorale. Its presence suggests a communal placidity that dangles before the individu- ated passions all around it as an unattainable ideal or respite...
Journal Article
Journal of Music Theory (2003) 47 (2): 305–323.
Published: 01 October 2003
...-four in the choral passages of Henry Madin’s and Charles-Hubert Gervais’s motets; these embellishments deserve closer examination, since they are written out in full and result in what today seem like odd har- monies. While initially surprising, these dissonances were no doubt used intentionally...
Journal Article
Journal of Music Theory (2004) 48 (2): 337–354.
Published: 01 October 2004
... of Smith’s interpretation of the rest of the finale dwells on the chorale theme at the end of the exposition. He notes that in Brahms’s other works (principally his symphonies) such fig- 341 ures, with their typical religious connotations, offer...
Journal Article
Journal of Music Theory (2014) 58 (1): 79–101.
Published: 01 April 2014
... (unprecedented as far as I know). This is an incredibly complex issue to unpack, but its level of complexity is no more than the level of consequence of Cohn’s potent historiography, so it is worth an attempt. J. S. Bach’s chorale settings often serve as a repertoire...
Journal Article
Journal of Music Theory (2022) 66 (1): 63–91.
Published: 01 April 2022
... for his harmony textbook, the main part of the Leipzig curriculum was studies in counterpoint ending with fugal writing. The exercises in writing four-part harmony (e.g., chorale settings) served as preliminary studies prior to exercises in writing counterpoint (e.g., chorale preludes and fugues...
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Journal Article
Journal of Music Theory (2020) 64 (1): 137–143.
Published: 01 April 2020
... as the Heather Professor of Music in 1900, outline an evolutionary model of music that follows the types of instruments on which it was pro- duced. The early periods of this organologically conceived music history are, accordingly, organized by sound source: a chapter on choral style is followed by chapters...
Journal Article
Journal of Music Theory (1999) 43 (2): 193–230.
Published: 01 October 1999
...,” Music Theory Spectrum 12 /1 ( 1990 ): 83 –120. Lewin, David. “A Tutorial on Klumpenhouwer Networks, Using the Chorale in Schoenberg's Op. 11, No. 2,” Journal of Music Theory 38 /1 ( 1994 ): 79 –101. Mead, Andrew. “Webern, Tradition, and `Composing with Twelve Tones',” Music Theory Spectrum...
Journal Article
Journal of Music Theory (2001) 45 (2): 470–483.
Published: 01 October 2001
... establishes that a com- plete draft of Kontrapunkt II had been completed by 1917. At that point, it included extensive sections on free composition and figured bass, as well as discussions of abbreviation, keyboard style, and the chorale, in addition to what appears in the published version. She also...
Journal Article
Journal of Music Theory (2016) 60 (2): 295–305.
Published: 01 October 2016
...- tion has to do with novel or eccentric analyses. Is it plausible that the chorale in Schoenberg’s Klavierstück op. 11/2 “has the job” of presenting the patterns specified by David Lewin’s famous K-net analysis of the passage (Lewin 1994)? If not, what is one...
Journal Article
Journal of Music Theory (2020) 64 (2): 297–308.
Published: 01 October 2020
... understand chords fairly easily, related Jenkins, and I guess that, given enough time, they would dutifully analyze scores with Roman numerals or write chorale-style homorhythmic figured-bass exercises, but it was not clear to me how that was going to help them hear a song, figure out what the key...
Journal Article
Journal of Music Theory (2013) 57 (1): 159–191.
Published: 01 April 2013
...- sions “occur” does not prove that they are “abundant.” Moreover, a footnote (97 n. 28) shows that even this existence claim is limited: “baroque” means only some Bach chorales, and “classical” means Mozart’s piano sonatas. No justification is given for regarding...
Journal Article
Journal of Music Theory (2010) 54 (1): 91–105.
Published: 01 April 2010
... and John Dewey’s Art as Experience. Both works incorporate quota- tion as historical echo (Bach’s chorale “Es is genug” in Berg; Ten- nyson, Coleridge, and Browning in Dewey). The percentage of quoted material is low...
Journal Article
Journal of Music Theory (2008) 52 (2): 273–320.
Published: 01 October 2008
..., Virginia. 1983 . Brahms's Choral Compositions and his Library of Early Music . Ann Arbor: UMI Research Press. Harrison, Daniel. 1994 . Harmonic Function in Chromatic Music: A Renewed Dualist Theory and an Account of Its Precedents . Chicago: University of Chicago Press. ———. 2002...