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Journal Article
Agency and Information Content in Eighteenth and Early Nineteenth-Century String-Quartet Expositions
Journal of Music Theory (2012) 56 (1): 87–120.
Published: 01 April 2012
...Ben Duane This article examines the phenomenon in which musical lines establish what Edward T. Cone calls virtual agents , making the argument that listeners are more likely to ascribe such agency to lines that have high information content (in the formal, information-theoretic sense). I use...
Journal Article
Journal of Music Theory (2006) 50 (1): 25–63.
Published: 01 April 2006
...Yosef Goldenberg Bibliometric tools and especially content analysis of all 393 articles published in Journal of Music Theory (up to issue 48/1) help to investigate the development of the content of this journal. The articles were classified according to their type, the theoretical aspect...
Journal Article
Journal of Music Theory (2008) 52 (2): 251–272.
Published: 01 October 2008
...Dmitri Tymoczko In this article, I consider two ways to model distance (or inverse similarity) between chord types, one based on voice leading and the other on shared interval content. My goal is to provide a contrapuntal reinterpretation of Ian Quinn's work, which uses the Fourier transform...
Includes: Supplementary data
Journal Article
Journal of Music Theory (2019) 63 (1): 103–138.
Published: 01 April 2019
... Hepokoski and Darcy’s sonata theory, Caplin’s theory of formal functions, and Schenkerian concepts of tonal content argue in favor of a type 2 interpretation of nineteenth-century manifestations. The analyses presented demonstrate some of the ways these theories may prove mutually reinforcing, even when...
Journal Article
Journal of Music Theory (2008) 52 (2): 273–320.
Published: 01 October 2008
... of this article examines the Two Rhapsodies, op. 79. The unusual harmonic structure of the G-minor rhapsody is read in light of 1-cycles present within the opening tiered polyphony. In the B-minor rhapsody, the content of three concurrent cycles at the opening—a 4-cycle, 1-cycle, and 5/7-cycle—is respectively...
Journal Article
Journal of Music Theory (2011) 55 (2): 167–220.
Published: 01 October 2011
... and purposive form, eschewing “charms and emotions”; and on the other hand, Hegel’s focus on art’s spirituality, its “ideal content,” in characterizing the specifically musical, which for Hanslick embodies a “full share of ideality.” Clustered ideologically around Kant, Hegel, and Hanslick in closer or more...
Journal Article
Journal of Music Theory (2010) 54 (2): 179–234.
Published: 01 October 2010
... in Guillaume de Machaut's nineteen three-voice motets. Building initially upon Sarah Fuller's work, the proposed schema introduces a more nuanced approach to categorizing the intervallic content of consonant and dissonant sonorities. Moreover, by calling attention to the outer voices of certain sonority types...
Journal Article
Journal of Music Theory (2016) 60 (2): 149–180.
Published: 01 October 2016
...Drew Nobile In this article, I advocate for a syntactical definition of harmonic function in rock music such that function is acquired not by a chord's scale-degree content but by its role in the context of a song's form. In rock songs, the syntactical role of dominant, for example, is often played...
Journal Article
Journal of Music Theory (2016) 60 (2): 213–262.
Published: 01 October 2016
...Jason Yust The discrete Fourier transform on pitch-class sets, proposed by David Lewin and advanced by Ian Quinn, may provide a new lease on life for Allen Forte's idea of a general theory of harmony for the twentieth century based on the intervallic content of pitch-class collections. This article...
Journal Article
Journal of Music Theory (2017) 61 (2): 201–242.
Published: 01 October 2017
...C. Catherine Losada This article examines the transfer between precompositional material and score in Pierre Boulez’s Domaines . It demonstrates how this stage of the compositional process and the gestural content of the work derive from and are linked to Boulez’s innovative serial and derivational...
Journal Article
Journal of Music Theory (2009) 53 (1): 1–56.
Published: 01 April 2009
..., a metric cube connects two meters if their ordered factor representations differ by only one factor. Metric cubes, and metric operations that act on the contents of a cube, reveal patterns of metric structure in three works by Brahms: the first movement of the Third Symphony op. 90, the third movement...
Journal Article
Journal of Music Theory (2006) 50 (1): 77–101.
Published: 01 April 2006
... of interactions of prolongational, associative, or stretto-like musical figurations in the prelude. These “differences” in orientation become creative and expressive of newly available content, multiplying interactions of composition and text, reception and analysis. © 2008 by Yale University 2008...
Journal Article
Journal of Music Theory (1999) 43 (1): 83–99.
Published: 01 April 1999
...
“giving the content,” and it is what goes on, for example, in belief attri-
bution. When I say that Plato believed that bad music corrupts, I use the
84
words in the that-clause (‘that bad music corrupts’) to characterize one of
Plato’s belief states. A representation in words is used...
Journal Article
Journal of Music Theory (2022) 66 (2): 189–222.
Published: 01 October 2022
... the concept of “genre memory”: each genre permanently encodes its original function, context, content, musical parameters, and much else besides; put differently, each genre carries numerous associations with it, which then signify meaning to listeners (103–7, 150). Ambiguity between genre and topic recedes...
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Journal Article
Journal of Music Theory (2004) 48 (1): 69–98.
Published: 01 April 2004
... and
ordered interval content.
Example 1 contains the first four measures of the clarinet part from
Messiaen’s Quatuor pour la fin du temps, mvt. 1, Liturgie de cristal,
along with an analysis of some of the most important intervallic features
of the passage. Pitch intervals in the example are measured...
Journal Article
Journal of Music Theory (2006) 50 (1): 3–4.
Published: 01 April 2006
...Daniel Harrison © 2008 by Yale University 2008 This content is made freely available by the publisher. It may not be redistributed or altered. All rights reserved. Introduction to the issue
to read david kraehenbuehl’s foreword to the first issue of JMT...
Journal Article
Journal of Music Theory (2016) 60 (2): 295–305.
Published: 01 October 2016
... not suggest that there can be no satisfactory
response to these questions that would allow Walton to hang on to his princi-
pal contentions, but a response is needed. Incidentally this highlights an
important methodological point that redounds to the philosophical...
Journal Article
Journal of Music Theory (2000) 44 (1): 127–169.
Published: 01 April 2000
... repetition as a means of generating and developing melodic
content—hence my rubric Melodielehre—and as the embodiment of a
dynamic, forward-moving impulse in music.6 Reicha and Marx under-
stand the sequence primarily as a process which unfolds motivic units
and transforms them by the very act...
Journal Article
Journal of Music Theory (2005) 49 (1): 1–43.
Published: 01 April 2005
...
correspondence with J1, whose pitch-class members of [014] are arranged
on the page to reflect their chronological presentation in the music. Beyond
this, no other meaning should be drawn from the visual arrangement of
the trichords. The pitch-class node contents printed in boldface are pre-
sented...
Journal Article
Journal of Music Theory (2002) 46 (1-2): 285–345.
Published: 01 October 2002
...-
puters connected by telecommunications lines,” does little if anything to
relate the experience or content of the Web. Nevertheless, experienced
surfers develop techniques and employ tools that both help them navigate
and process the data on the Web. Browsers, for examples, have “Home”
buttons...
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