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dissolution
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Journal Article
Journal of Music Theory (2019) 63 (1): 71–102.
Published: 01 April 2019
... to translations by Schoenberg himself, members of his circle, and later commentators, the author examines liquidation alongside “dissolution” ( Auflösung ), “obligations,” and “obligatory” forms. While the received interpretation of the term emphasizes the elimination or removal of features, the sources reveal...
Journal Article
Journal of Music Theory (2014) 58 (1): 67–77.
Published: 01 April 2014
... of signification: topical
signification based upon a conventional thesaurus and affective signification
that defies convention. Mozart’s dissolution of the siciliano topic into distinc-
tive features, demonstrated by Rumph in the analysis of “Vedrai carino,” has...
Journal Article
Journal of Music Theory (2013) 57 (2): 193–243.
Published: 01 October 2013
... into seemingly unconnected details (1907,
qtd. in Painter 1995, 237). Hirschfeld criticizes both Debussy’s dissolution of
the parts and Mahler’s hypostatization of them. When the unified whole is
compromised, the logical structure is disrupted by intense sensations...
Journal Article
Journal of Music Theory (2013) 57 (1): 1–45.
Published: 01 April 2013
... “paramusical” markers, have
traditionally served to indicate to which genre a given works belongs. More
dubious, however, is Dahlhaus’s assumption of a causal relation linking genre
to work title, such that the dissolution of the former spells the desuetude...
Journal Article
Journal of Music Theory (2004) 48 (2): 295–324.
Published: 01 October 2004
.... The results either ignore one aspect of the work entirely or the
complex interaction of the competing harmonic systems. Both Schnebel
(1964) and Parks (1980) favor the chromatic over the diatonic in their
analyses of “Brouillards”: Schnebel sees in this prelude the dissolution
of tonality, while Parks...
Journal Article
Journal of Music Theory (2016) 60 (2): 213–262.
Published: 01 October 2016
... a return,
♭ ♭
238 JOURNAL of MUSIC THEORY
in a sense, but one in which the protagonist has been radically transformed.
The story is not completed, then, until after the ostinato resumes its initial
dissolute state...
Journal Article
Journal of Music Theory (1999) 43 (1): 135–163.
Published: 01 April 1999
... not die eas-
ily; and the musical developments responsible for its dissolution, above
all in their earlier (nineteenth-century) forms, took shape against an en-
during backdrop of stubbornly persisting tonal conventions. The evolu-
tion of tonality in the nineteenth century thus did not give rise...
Journal Article
Journal of Music Theory (2021) 65 (1): 107–137.
Published: 01 April 2021
... requested crisis “three quarters of the way through the waltz,” in a curious way: the musical surfacing of the G3/2 in the main waltz theme precedes the dissolution of the waltz as such, precipitating a shift to a new meter and tempo for the final section of the number. In Example 6 , the dancer's...
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Journal Article
Journal of Music Theory (2017) 61 (1): 29–57.
Published: 01 April 2017
... in the
a favorite of Brahms. See, for example, his songs “Vom Felix Salzer Papers, New York Public Library, box 53, file 2.
Strande,” op. 69/6, and “Über die Heide,” op. 86/4. In both Some of the sketches are in Schenker’s hand; others were
cases, the gradual dissolution of the dominant into the fol- completed...
Journal Article
Journal of Music Theory (2013) 57 (2): 383–418.
Published: 01 October 2013
... MC (TM1), its dissolution leading to the second
MC (TM2), and the subsequent material leading to the EEC (TM3). The ini-
tial thematic module will often merge with renewed transitional rhetoric,
thus effecting a TM1 ⇒ TM2 merger, or the TM1 might exhibit a presen tation
function only, followed...
Journal Article
Journal of Music Theory (2000) 44 (2): 323–379.
Published: 01 October 2000
..., we find evidence of the shaping force of
embodied metaphor in the changes in compositional practice that led to
the evolution and eventual dissolution of functional tonality. From rules
governing the range and placement of structural tones for chant melody,
to the preference for contrary motion...
Journal Article
Journal of Music Theory (2003) 47 (1): 155–214.
Published: 01 April 2003
..., unanticipated creation and dissolution of trichord groups and
greatly contributes to the impulsive nature of Schoenberg’s score. Sec-
ond, the integration of the vocal line in the construction at bars 11–12
offers the possibility of consolidating Berg’s “Frage” and “Thema” anno-
tations. While the “Frage...
Journal Article
Journal of Music Theory (2015) 59 (2): 273–320.
Published: 01 October 2015
... variant or theme (in block G) at the end of rotation 3; a second,
more emphatic and definitive closure is offered through the dissolution of
the refrain’s harmonic and thematic features in the contracted block C/D in
rotation 4. I argue that the alteration of formal patterns at the end...
Journal Article
Journal of Music Theory (2014) 58 (2): 103–154.
Published: 01 October 2014
..., and 8 and places the content of the other lines in the background.
To me this suggests a way of listening that concentrates on the feeling evoked
by the setting of those lines, above all, a weariness evoked by the progressive
dissolution of major-mode features...
Journal Article
Journal of Music Theory (2016) 60 (2): 97–148.
Published: 01 October 2016
... manipulation of the motive
by means of repetition, variation, extension, fragmentation, or dissolution. I
also reject those explanations which are based upon phrases, phrase-groups,
periods, double periods, themes, antecedents, and consequents...
Journal Article
Journal of Music Theory (2007) 51 (1): 5–49.
Published: 01 April 2007
... of the cadence,
the decoupling of dissonance from ligatura, from syncopatio. In short, the
breakup of the traditional cadential interrelationships. Only the dissolution
of the “bonds” (ties) in the clausulae frees the Klang.21...
Journal Article
Journal of Music Theory (2011) 55 (1): 89–146.
Published: 01 April 2011
... to “the dissolution of tonality” as a fait accompli, but whether one generally should still work for it, I doubt” (HL,
he also writes that “tonality is dissolving” (HL, 196, 97). 440n/394n).
On the one hand, it represents for him an illegitimate
128 Journal of Music Theory...
Journal Article
Journal of Music Theory (2000) 44 (2): 261–322.
Published: 01 October 2000
... pro-
cess of the ordre omnirhythmique would be the imminent dissolution of
rhythmic symmetry, leading to, as Martin Jenni (1992) described the ordre
omnitonique, an “escalation of effects . . . whereby the analytical faculty
passes from being willingly bemused to becoming ineluctably be-
numbed...
Journal Article
Journal of Music Theory (2004) 48 (2): 147–218.
Published: 01 October 2004
... point to on the page, but between
notes, among sounds, within contexts, over time. Music is diffuse; there
is no one place to focus. “Sound” is dispersed among sounds, embedded
in a web of contexts in continuous formation, dissolution, and superses-
sion. To fully engage associative sets...
