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Journal Article
Journal of Music Theory (2016) 60 (1): 23–50.
Published: 01 April 2016
... − 1, where n equals cardinality. This notation identifies pitches solely by their relative height, thereby eschewing any reference to specific interval size and effectively transforming pitches in pitch space into contour pitches in contour space. The variable end-point mechanism this procedure...
Journal Article
Journal of Music Theory (2008) 52 (2): 273–320.
Published: 01 October 2008
...Brent Auerbach Tiered polyphony describes segments of music that manifest rhythmic/metric layering (Lester 1986) in the presence of polyphony. This texture, though a hallmark of the baroque era, is capable of generating a variety of musical effects over many style periods. This article establishes...
Journal Article
Journal of Music Theory (2013) 57 (1): 1–45.
Published: 01 April 2013
... that such categories have never ceased playing a decisive role in the production, circulation, and reception of post-1945 art music. In interrogating the assumptions that underpin the “decline-of-genre” thesis, this article underlines the utility that renewed attention to genre and its framing effects may have...
Journal Article
Journal of Music Theory (2014) 58 (1): 25–56.
Published: 01 April 2014
... sonata forms on a case-by-case basis with the same urgency as with his classical precursors. Even in a two-part exposition like that of the finale of the Piano Trio in F major, Schumann finds effective means to merge classical conventions with dialectical tonal strategies. I am grateful to James...
Journal Article
Journal of Music Theory (2015) 59 (1): 1–61.
Published: 01 April 2015
... effects of characterization and dramatic continuity. Earlier versions of this research were presented to the New England Conference of Music Theorists and the Society for Music Theory in 2011. We are grateful for the stimulating discussions that grew out of those presentations and for the comments...
Journal Article
Journal of Music Theory (2015) 59 (2): 273–320.
Published: 01 October 2015
...José Oliveira Martins The article proposes that a construct I call the Dasian space provides an effective framework to interpret harmonic aspects of scale relations in twentieth-century polymodality, particularly in the music of Bartók. Based on Bartók's intuition that the pitch space modeled after...
Journal Article
Journal of Music Theory (2015) 59 (1): 99–119.
Published: 01 April 2015
... as much as rhetoric aids music—perhaps even more so. Since Mersenne locates the commonality between music and rhetoric in the human body, his theory attempts to define a rhetoric of emotional persuasion, rather than one of stylistic surface. Emotional persuasion is effected through vocal inflections...
Journal Article
Journal of Music Theory (2009) 53 (1): 57–94.
Published: 01 April 2009
...Alan Dodson This is an analytical study on metrical structure in Chopin's Mazurka op. 17/4 (complete) and excerpts from his Mazurkas opp. 59/2 and 63/3, and on the effects of expressive details in Paderewski's recordings upon that structure. The methodology is based mainly on Harald Krebs's theory...
Includes: Supplementary data
Journal Article
Journal of Music Theory (2020) 64 (1): 1–36.
Published: 01 April 2020
... is provided to classify such pairs. This reframing of phrase-structural analysis in predictive terms opens it up to the hermeneutic strategies of dialogic analysis, by allowing for the exploration of the rhetorical and expressive effects of failed predictions. This article further proposes a way to use corpus...
Journal Article
Journal of Music Theory (2001) 45 (1): 190–204.
Published: 01 April 2001
...—on the books’philosophical bases and arguments.3 Thus, Alterman describes the first chapter of SIP (“Effects”) as laying down “the ground rules of Schenker’s system” (79) through painstaking portrayal of the role of effects, the most important of which are “passing” and “Zug.” In the sec- ond chapter, Snarrenberg...
Journal Article
Journal of Music Theory (2001) 45 (1): 176–190.
Published: 01 April 2001
... have quite the intended effect. There is a re- markable amount of scholarly material stashed away in the notes; Blasius has certainly done his homework, but then he exiles it to the hinterlands. Too often the effect is not the hoped for “reconnoitering of a discursive terrain,” though sometimes...
Journal Article
Journal of Music Theory (2012) 56 (2): 285–291.
Published: 01 October 2012
... than static accumulation, Horlacher proposes that we identify Stravinsky’s formal process as “ordered succession,” for which she has devised a very effective means of graphic representation (reminiscent of Edward T. Cone’s famous diagram of the Symphonies...
Journal Article
Journal of Music Theory (2001) 45 (2): 435–456.
Published: 01 October 2001
... to play stringed instruments: apart from the well-known pizzicato effect, the composer instructs play- ers to rub, tap, or strike on sound boards and strings with the palm of the hand or the fingertips.5 The invention of new instruments and accessories does not exhaust the changes entailed...
Journal Article
Journal of Music Theory (2000) 44 (1): 45–79.
Published: 01 April 2000
... are given prominence in the final analysis will be those provided by the realization of semitones effected in the initial contrapuntal analysis. Naturally there will be a complete fit, such that the “edition” of the music will support and enhance the analysis. There is no way out of this hermeneutic...
Journal Article
Journal of Music Theory (2003) 47 (2): 225–272.
Published: 01 October 2003
... century, and even then, as will be shown, more as a special rhetorical effect than as a regular compositional technique. It is not only a distinc- tive technique of the common practice, but also co-extensive with it. At this point, it is useful to define the term, even if it is clear...
Journal Article
Journal of Music Theory (2001) 45 (1): 170–176.
Published: 01 April 2001
... realization of the work of art can thus be considered superfluous. Here is a good illustration as to why one must never read Schenker quickly or superficially. At first blush, he does seem to be throwing down the gauntlet, in effect saying to performers, “thank you very much, you are no longer required.” I...
Journal Article
Journal of Music Theory (2005) 49 (1): 141–180.
Published: 01 April 2005
... to work out a musical passage in Gluck’s Orfeo ed Euridice that did not cease to fascinate him.1 In an analytical reading, in which he invites his imagined reader to reexperience the effects of this Journal of Music Theory, 49:1 DOI 10.1215/00222909-2007-004  © 2008 by Yale University...
Journal Article
Journal of Music Theory (2019) 63 (2): 261–267.
Published: 01 October 2019
... 263Reviews Adam on Doll and examples. The topic of chapter 5 is various kinds of transformational effects, including motivic transformation, modulation, and the addition, subtraction, alteration, and rotation of chords in progressions or schemata. Chapter 6 brings all the preceding concepts together...
Journal Article
Journal of Music Theory (2000) 44 (2): 487–494.
Published: 01 October 2000
... the urge to seek immediate application. Scruton in effect declares an affinity with those who value the autonomy of music, but it would be an ungenerous reader who failed to see the broader significance of the phrase “for their own sakes.” Focused contemplation, as point of departure, opens out...
Journal Article
Journal of Music Theory (2003) 47 (1): 41–101.
Published: 01 April 2003
... of modulations through C≥ minor, E major, G major, and B≤ major, returning to B major in m. 39, but moving further to A≤ major in m. 49 before settling at last comfortably into B major (with key signature) in m. 60. This modulatory scheme, graphed in Example 8, may best be viewed as effecting a middleground...