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Journal Article
Journal of Music Theory (2020) 64 (2): 203–240.
Published: 01 October 2020
... study of subordinate theme closure in Dvořák’s mature chamber music responds both to Horton’s interest in asynchrony between formal design and tonal structure and to his and Vande Moortele’s calls for expanding the range of composers included in these endeavors. Attention to a less studied composer...
Journal Article
Journal of Music Theory (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...
Includes: Supplementary data
Journal Article
Journal of Music Theory (2013) 57 (1): 87–118.
Published: 01 April 2013
... of the piece or reset the durational clocks of the piece for proper cadential closure. Examples range from Handel’s keyboard suites and Concerti Grossi, op. 6, as well as Bach’s English Suites, to Couperin’s B-minor Passacaille and Brahms’s Capriccio, op. 76/2. Channan Willner is acquisitions...
Journal Article
Journal of Music Theory (2015) 59 (1): 63–97.
Published: 01 April 2015
... church music bears a closural function. I thank William Rothstein, Patrick McCreless, and Philip Ewell for their help with earlier drafts of this article. Ellen Bakulina is a Ph.D. candidate in music theory at the City University of New York Graduate Center. She holds degrees from the...
Journal Article
Journal of Music Theory (2018) 62 (1): 119–144.
Published: 01 April 2018
... Giorgio . 1999 . “ Bartleby; or, On Contingency .” In Potentialities , trans. Heller-Roazen Daniel , 243 – 71 . Stanford, CA : Stanford University Press . Agawu Kofi V . 1987 . “ Concepts of Closure and Chopin’s opus 28 .” Music Theory Spectrum 9 : 1 – 17 . Benjamin...
Journal Article
Journal of Music Theory (2015) 59 (2): 273–320.
Published: 01 October 2015
... for pentatonic themes throughout the third cal set-class (“host set which establishes a privileged movement of Bartók’s Piano Sonata, as well as in the move- correspondence with the space based on the properties of ment’s closure. 280 JOURNAL of MUSIC THEORY refers to a...
Journal Article
Journal of Music Theory (2016) 60 (1): 51–88.
Published: 01 April 2016
... absence of tonal closure for the first movement, about which I say more shortly.13 In addition to the type 3 form and this run-on continuity, a host of characteristically nineteenth-century elements of tonal enrichment counterbalance Schu­mann’s...
Journal Article
Journal of Music Theory (2020) 64 (1): 1–36.
Published: 01 April 2020
... William Earl . 2018 . “ Beyond the Classical Cadence: Thematic Closure in Early Romantic Music .” Music Theory Spectrum 40 , no. 1 : 1 – 26 . Clark Andy . 2013 . “ Whatever Next? Predictive Brains, Situated Agents, and the Future of Cognitive Science .” Behavioral and Brain Sciences...
Journal Article
Journal of Music Theory (2001) 45 (1): 144–150.
Published: 01 April 2001
... form considers voice-leading to be deter- minate. Sonata form arises from a two-part fundamental structure, and the sole re- quirements of development and recapitulation sections are those that serve this structural division: the impulse toward closure is interrupted following the arrival or...
Journal Article
Journal of Music Theory (2000) 44 (1): 1–43.
Published: 01 April 2000
... function for the D 6/3 chord at the outset of the movement. This duality complicates the articulation of the opening tonic Stufe and delays a stable D-major sound until the point of closure for the A section. From a Schenkerian perspective, the 6/3 chord in m. 1 functions not as an inversion of the...
Journal Article
Journal of Music Theory (2014) 58 (1): 25–56.
Published: 01 April 2014
... sense of arrival). Indeed, one characteristic of the String Quartet that is clearly not related to eighteenth-century precedents (except perhaps as a thoroughgoing “deformation”) is its failure to arrive on C closure in the sec- ond ending following the exposition repeat. Thus, alongside the...
Journal Article
Journal of Music Theory (2017) 61 (1): 29–57.
Published: 01 April 2017
... through the arpeggiation, as in Figure 3g. In withhold- ing the final harmony up to the end of the passing motion, Schenker is fol- lowing the principle of closure in linear progressions and, by extension, arpeggiations that he spells out in Free Composition.10...
Journal Article
Journal of Music Theory (2015) 59 (1): 1–61.
Published: 01 April 2015
...- sistent metrical pulse is absent, chordal sevenths routinely fail to resolve down by step, and complete scenes lack tonal closure as a matter of course. These characteristics most precisely describe the recitativo semplice (or secco) of Italian dramatic and...
Journal Article
Journal of Music Theory (2006) 50 (2): 181–210.
Published: 01 October 2006
..., in most minor-key sonatas). • Essential expositional closure (EEC): a clearly articulated tonal goal— usually the first satisfactory perfect authentic cadence (PAC) in the new key. b) Four options for medial caesura: • Half cadence in the new key (V:HC or III:HC...
Journal Article
Journal of Music Theory (2007) 51 (2): 245–276.
Published: 01 October 2007
.... How can a silence accomplish this? For silence to operate actively within a musical context, rather than discretely as a boundary silence, in most cases it must follow an implicative rather than a closural event (see Meyer 1956; Narmour 1990). Margulis (2007a) uses reaction time data and...
Journal Article
Journal of Music Theory (2008) 52 (2): 181–218.
Published: 01 October 2008
... lyrically as “ara- besques woven out of scales and arpeggios” (2002, 355). More important, far from being a liability, the sheer conventionality of these passages is precisely their strength: at this point in the discourse, with closure in the air, intelligi...
Journal Article
Journal of Music Theory (2011) 55 (2): 221–251.
Published: 01 October 2011
..., defined by the absence of the kind of closure possessed by the Satz. A Gang could con- tinue endlessly, unless brought to an end by an interruption. The diagrams Marx uses to summarize the rondo forms refer to both Satz and Gang. Exam- ple 1 shows the...
Journal Article
Journal of Music Theory (2013) 57 (1): 151–158.
Published: 01 April 2013
... continued the processual approach initiated by Beethoven and consider ways in which motivic manip- ulations, cyclic designs, “signature” harmonic progressions, and strategies toward closure might function as form-generating forces. Schmalfeldt’s analyses are ever rigorous, detailed, and self...
Journal Article
Journal of Music Theory (2003) 47 (1): 41–101.
Published: 01 April 2003
... Menuetto; this melodic culmination and the tonic pedal in mm. 152–56—unique to this moment in the third movement—secure maximal closure for the end of the section. Despite the parodistically simple subject of the Alternativo, the sec- tion proves to be a virtuosic exercise in chromatic harmonization...
Journal Article
Journal of Music Theory (2015) 59 (2): 235–271.
Published: 01 October 2015