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double return

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Journal Article
Journal of Music Theory (2017) 61 (2): 171–200.
Published: 01 October 2017
... terms. Here I present a bottom-up approach, demonstrating that the recapitulation arose as a concatenation between two previously independent practices: the double return of the opening theme in the tonic in the middle of the second half of a two-part form, and the thematic matching between the ends...
Journal Article
Journal of Music Theory (2000) 44 (2): 381–450.
Published: 01 October 2000
..., form, and genre; this essay is intended in part as a further contribution to that endeavor. Nonetheless, I think that writers like McClary and Subotnik are on to something, and I will return briefly to these hermeneutical issues at the end of this article. The paper has four parts. Part I defines...
Journal Article
Journal of Music Theory (2001) 45 (1): 119–143.
Published: 01 April 2001
... in the subtonic; another in the mediant; still others beginning in the domi- nant! Nor are such innovations confined to a youthful daring: Schubert indulged his penchant for beginning the thematic return away from the tonic in sonatas composed throughout his career—from those written as a young teenager...
Journal Article
Journal of Music Theory (2020) 64 (2): 203–240.
Published: 01 October 2020
... clarity. The development arrives on the home dominant at m. 108 and expands that V for four measures, as preparation for the recapitulatory double return at m. 112. One might even cite, as a classical-style attribute, Dvor ák s Mozartian use of augmented-sixth chords as signposts for these large-scale...
Journal Article
Journal of Music Theory (2007) 51 (2): 187–210.
Published: 01 October 2007
...Matt BaileyShea This article analyzes Hugo Wolf's Auf eine Christblume I and II in relation to Robert Bailey's concept of the “double-tonic complex.” These songs project an intricate pairing of D and F# tonalities that often result in various hexatonic relationships. My interpretation associates...
Journal Article
Journal of Music Theory (2002) 46 (1-2): 364–368.
Published: 01 October 2002
... called mixture,” an assertion that seems to me unassailable. I do not, in any event, write that mixture was “one way that Schenker accounted for chromaticism”—those are Rothstein’s words, not mine (pace And with one qualification (to which I will return in a moment), the explanation I give...
Journal Article
Journal of Music Theory (2002) 46 (1-2): 347–363.
Published: 01 October 2002
... called mixture,” an assertion that seems to me unassailable. I do not, in any event, write that mixture was “one way that Schenker accounted for chromaticism”—those are Rothstein’s words, not mine (pace And with one qualification (to which I will return in a moment), the explanation I give...
Journal Article
Journal of Music Theory (2018) 62 (1): 119–144.
Published: 01 April 2018
... guiding thread throughout is the process of liquidation, which I see as a kind of contained laboratory for the formal processes in Haydn’s music more widely. I first analyze the double movement of convention and expression through the lens of Jacques Derrida’s notion of exappropriation (signifying...
Journal Article
Journal of Music Theory (2008) 52 (2): 251–272.
Published: 01 October 2008
... even n-note chord, for n ranging from 1 to 6.9 (Terminological note: I refer to these as the “doubled subsets of the perfectly even n-note set-class10 Associ- ated to each graph is one of the six Fourier components. For any three-note set-class, the magnitude of its nth Fourier component...
Includes: Supplementary data
Journal Article
Journal of Music Theory (2015) 59 (1): 63–97.
Published: 01 April 2015
... Robert . 1985 . “ An Analytical Study of the Sketches and Drafts .” In Wagner: Prelude and Transfiguration from “Tristan and Isolde,” ed. Bailey Robert , 113 – 46 . New York : Norton . BaileyShea Matthew . 2007 . “ The Hexatonic and the Double Tonic: Wolf’s ‘Christmas Rose...
Journal Article
Journal of Music Theory (2021) 65 (1): 139–169.
Published: 01 April 2021
... as a point of departure and return. Balanchine's statements suggest, moreover, an especial interest in the material (sonic) qualities of music, echoing the kind of acmeist or abstract expressionist aesthetic evident in his statements about the beauty of movement in dance. To study the intersections...
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Journal Article
Journal of Music Theory (2013) 57 (2): 383–418.
Published: 01 October 2013
...). Multiple MCs: • MC declined: ¡ Return to tonic after proposed I: HC MC (e.g., a grand antecedent is followed by a grand consequent of the dissolving type leading to the actual MC) ¡ Proposed I: HC MC followed by new material (sometimes S-like in all other...
Journal Article
Journal of Music Theory (2005) 49 (2): 301–332.
Published: 01 October 2005
... No Evil” (Table 3b), which also presents two statements (mm. 11–14) of A7-5 B≤m7, a nonfunctional, nondiatonic progression. The A7-5 is a surface elaboration acting as an accented neighbor chord to the B≤m7 chord, which itself is a neighbor chord mov- ing from and returning to tonic...
Journal Article
Journal of Music Theory (1999) 43 (1): 1–19.
Published: 01 April 1999
... 5 mind and keeping count. Return to the original tempo, and now double it, again and then again. As you continue this way, you will find that at a certain point you will no longer be able to tap the pulse with a single fin- ger, but must create it by a reciprocal motion between two fingers. Con...
Journal Article
Journal of Music Theory (2014) 58 (2): 235–256.
Published: 01 October 2014
... in all the same ways. The object of the game is to trace a path that is motivic—that exhibits notable properties of repetition and recursion. A possible bonus is closure: returning to the point of origin at the end. But wait—how are we to know if the path has been closed or not? Pre- sumably...
Journal Article
Journal of Music Theory (2004) 48 (2): 337–354.
Published: 01 October 2004
... in the rest of the book, and includes critiques of Schenker’s and Charles J. Smith’s theories of form, focusing on the role of key area and structural harmonies, as well as the choice of Kopfton. Smith returns to some of these concerns in chapter 4, where he compares Brahms’s and Schenker’s responses...
Journal Article
Journal of Music Theory (2009) 53 (1): 1–56.
Published: 01 April 2009
... is not an issue in Cohn’s type I metric space, since any meter may be related to any other.) Here, it is prudent to return to the pulse representation of a meter from the Mozart article, for all commensurable meters in this type II metric space must share...
Journal Article
Journal of Music Theory (2012) 56 (2): 225–283.
Published: 01 October 2012
..., 3472, 3474, 3484, 3473, 3485, 3486, 3487, 3475. 20  The autograph’s no. 2, Cavatina Gualtiero, is given a double number, “no. 3.4,” in the first edition, with no indi- cation of where no. 3 ends...
Journal Article
Journal of Music Theory (1999) 43 (2): 193–230.
Published: 01 October 1999
... to the game plan of “Fourths”: pitch and pc doublings are rigor- ously avoided until the coda, at which point Even-ness is asserted un- equivocally (and triumphantly) by simultaneous E≤ octaves.13 Analytical Applications of the Partitional Model Let us return to the properties...
Journal Article
Journal of Music Theory (2021) 65 (1): 107–137.
Published: 01 April 2021
.... The version played for dance cuts these measures, removing this further evidence of the “silent” even-measure hypermeter. 24 This short solo is extremely taxing even for the best dancers—Tisserand performs as many entrechat sixes as he can before he must set up for the double tour . If Cecchetti did...
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