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Journal Article

The Solfeggio Tradition: A Forgotten Art of Melody in the Long Eighteenth Century

Gilad Rabinovitch
Journal of Music Theory (2023) 67 (2): 356–368.
DOI: https://doi.org/10.1215/00222909-10699775
Published: 01 October 2023
... : University of California Press . Byros Vasili . 2012 . “ Meyer's Anvil: Revisiting the Schema Concept .” Music Analysis 31 , no. 3 : 273 – 346 . Byros Vasili . 2015 . “ ‘Hauptruhepuncte des Geistes’: Punctuation Schemas and the Late-Eighteenth-Century Sonata .” In What...
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View articletitled, The Solfeggio Tradition: A Forgotten Art of Melody in the Long <span class="search-highlight">Eighteenth</span> Century View PDF for article titled, The Solfeggio Tradition: A Forgotten Art of Melody in the Long <span class="search-highlight">Eighteenth</span> Century
Journal Article

An Eighteenth-Century Theory of Musical Cognition?: John Holden’s Essay towards a Rational System of Music (1770)

Carmel Raz
Journal of Music Theory (2018) 62 (2): 205–248.
DOI: https://doi.org/10.1215/00222909-7127670
Published: 01 October 2018
..., and expectation. These concepts allow him to develop detailed speculations about a range of conscious and unconscious dispositions of perception. This study explicates the Essay ’s speculative theories and contextualizes them both within eighteenth-century music theory and in light of contemporary psychology...
View articletitled, An <span class="search-highlight">Eighteenth</span>-Century Theory of Musical Cognition?: John Holden’s Essay towards a Rational System of Music (1770) View PDF for article titled, An <span class="search-highlight">Eighteenth</span>-Century Theory of Musical Cognition?: John Holden’s Essay towards a Rational System of Music (1770)
Journal Article

The Large-Scale Formal Role of the Solo Entry Theme in the Eighteenth-Century Concerto

Joel Galand
Journal of Music Theory (2000) 44 (2): 381–450.
DOI: https://doi.org/10.2307/3090682
Published: 01 October 2000
.... ______. 1969 . “The Vogue of the Instrumental Rondo in the Late Eighteenth Century.” Journal of the American Musicological Society 22 : 425 –55. Cone, Edward T. 1968 . Musical Form and Musical Performance . New York: W. W. Norton. Cramer, Carl Friedrich. 1783 . Magazin der Musik Hamburg. Facs...
View articletitled, The Large-Scale Formal Role of the Solo Entry Theme in the <span class="search-highlight">Eighteenth</span>-Century Concerto View PDF for article titled, The Large-Scale Formal Role of the Solo Entry Theme in the <span class="search-highlight">Eighteenth</span>-Century Concerto
Journal Article

Enlightenment Aspirations of Progress in Eighteenth-Century German Theory

Karl Braunschweig
Journal of Music Theory (2003) 47 (2): 273–304.
DOI: https://doi.org/10.1215/00222909-47-2-273
Published: 01 October 2003
...: Bärenreiter. Braunschweig, Karl. 2001 . “Genealogy and Musica Poetica in Seventeenth- and Eighteenth-Century Theory.” Acta Musicologica 73/1 : 45 -75. Buelow, Goerge. 1986 . Thorough-Bass Accompaniment According to Johann David Heinichen . rev. ed. Ann Arbor: UMI Research Press. Cassirer...
View articletitled, Enlightenment Aspirations of Progress in <span class="search-highlight">Eighteenth</span>-Century German Theory View PDF for article titled, Enlightenment Aspirations of Progress in <span class="search-highlight">Eighteenth</span>-Century German Theory
Journal Article

A New Theory of Chromaticism from the Late Sixteenth to the Early Eighteenth Century

Kyle Adams
Journal of Music Theory (2009) 53 (2): 255–304.
DOI: https://doi.org/10.1215/00222909-2010-004
Published: 01 October 2009
... the Late Sixteenth to the Early Eighteenth Century.” Ph.D. diss., City University of New York. ____. 2007 . “Theories of Chromaticism from the Late Sixteenth to the Early Eighteenth Century.” Theoria 14 : 5 –40. Aron, Pietro. [1529] 1970 . Toscanello in Musica . Translated by Peter Bergquist...
View articletitled, A New Theory of Chromaticism from the Late Sixteenth to the Early <span class="search-highlight">Eighteenth</span> Century View PDF for article titled, A New Theory of Chromaticism from the Late Sixteenth to the Early <span class="search-highlight">Eighteenth</span> Century
Journal Article

Punctuation and Sense in Late-Eighteenth-Century Music

Danuta Mirka
Journal of Music Theory (2010) 54 (2): 235–282.
DOI: https://doi.org/10.1215/00222909-1214930
Published: 01 October 2010
...Danuta Mirka Two closely interrelated techniques of phrase expansion occasionally used by eighteenth-century composers but so far not recognized by music theorists are twisted caesuras and overridden caesuras . Both of them represent complex games played by composers with their listeners on two...
View articletitled, Punctuation and Sense in Late-<span class="search-highlight">Eighteenth</span>-Century Music View PDF for article titled, Punctuation and Sense in Late-<span class="search-highlight">Eighteenth</span>-Century Music
Journal Article

Agency and Information Content in Eighteenth and Early Nineteenth-Century String-Quartet Expositions

Ben Duane
Journal of Music Theory (2012) 56 (1): 87–120.
DOI: https://doi.org/10.1215/00222909-1546976
Published: 01 April 2012
...: Problems of Style and Chronology , ed. Badura-Skoda Eva Branscombe Peter , 209 – 75 . New York : Cambridge University Press . Agency and Information Content in Eighteenth- and Early Nineteenth-Century String-Quartet Expositions...
View articletitled, Agency and Information Content in <span class="search-highlight">Eighteenth</span> and Early Nineteenth-Century String-Quartet Expositions View PDF for article titled, Agency and Information Content in <span class="search-highlight">Eighteenth</span> and Early Nineteenth-Century String-Quartet Expositions
Journal Article

Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata

Joel Galand
Journal of Music Theory (2013) 57 (2): 383–418.
DOI: https://doi.org/10.1215/00222909-2323515
Published: 01 October 2013
...Joel Galand Joel Galand is associate professor of music theory and associate director of the School of Music at Florida International University. James Hepokoski and Warren Darcy Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata...
View articletitled, Elements of Sonata Theory: Norms, Types, and Deformations in the Late-<span class="search-highlight">Eighteenth</span>-Century Sonata View PDF for article titled, Elements of Sonata Theory: Norms, Types, and Deformations in the Late-<span class="search-highlight">Eighteenth</span>-Century Sonata
Journal Article

Music in the Body: The Eighteenth-Century Contredanse and Hypermetrical Hearing

Alison Stevens
Journal of Music Theory (2021) 65 (1): 81–106.
DOI: https://doi.org/10.1215/00222909-9124738
Published: 01 April 2021
...Alison Stevens Abstract Dance in general and the contredanse in particular have long been recognized as important to eighteenth-century European music. But music theorists have tended to understate the contredanse's unique contribution, when they haven't overlooked it entirely: dances are more...
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View articletitled, Music in the Body: The <span class="search-highlight">Eighteenth</span>-Century Contredanse and Hypermetrical Hearing View PDF for article titled, Music in the Body: The <span class="search-highlight">Eighteenth</span>-Century Contredanse and Hypermetrical Hearing
Journal Article

How the Triad Took (a) Root

Caleb Mutch
Journal of Music Theory (2022) 66 (1): 43–62.
DOI: https://doi.org/10.1215/00222909-9534127
Published: 01 April 2022
... state of triadic theorizing in eighteenth-century Britain. The author advances a new interpretation that, as a result of the overtone-based preoccupations of erudite authors and the particular emphases of thoroughbass teachers, British theorists did not use a fully realized triadic theory until much...
FIGURES
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Journal Article

Toward a “Global” History of Music Theory

Nathan John Martin
Journal of Music Theory (2022) 66 (2): 147–187.
DOI: https://doi.org/10.1215/00222909-9930876
Published: 01 October 2022
... theorizing in the later eighteenth century. The third treats the international contexts of Hugo Riemann's thought. I present these three case studies, together with more general reflections on the possible scope of research on historical music theory, with the aim of inviting reflection...
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Journal Article

Dvořák and Subordinate Theme Closure: “Positive” Analytic Results for a “Negative” Approach to Romantic Form

Peter H. Smith
Journal of Music Theory (2020) 64 (2): 203–240.
DOI: https://doi.org/10.1215/00222909-8550783
Published: 01 October 2020
...Peter H. Smith Form theorists have shown increasing interest in applying the methodologies of Caplin and of Hepokoski and Darcy to sonata forms of the nineteenth century. Many of these efforts proceed under the assumption that late eighteenth-century norms continued to influence Romantic sonata...
View articletitled, Dvořák and Subordinate Theme Closure: “Positive” Analytic Results for a “Negative” Approach to Romantic Form View PDF for article titled, Dvořák and Subordinate Theme Closure: “Positive” Analytic Results for a “Negative” Approach to Romantic Form
Journal Article

Toward a Theory of Recapitulatory Tonal Alterations

Jonathan Guez
Journal of Music Theory (2019) 63 (2): 209–229.
DOI: https://doi.org/10.1215/00222909-7795269
Published: 01 October 2019
... of painting a more complete and analytically adequate picture of actual practices. Its goals are, first, to give an idea of the range of strategies available to composers of the eighteenth and nineteenth centuries and, second, to show how familiarity with these strategies can open a space for new...
View articletitled, Toward a Theory of Recapitulatory Tonal Alterations View PDF for article titled, Toward a Theory of Recapitulatory Tonal Alterations
Journal Article

Schubert, Chromaticism, and the Ascending 5-6 Sequence

David Damschroder
Journal of Music Theory (2006) 50 (2): 253–275.
DOI: https://doi.org/10.1215/00222909-2008-017
Published: 01 October 2006
...) poetical context. A range of late-eighteenth- and early-nineteenth-century thought on both sequential progression and harmonic analysis in general, by Emanuel Aloys Förster, Johann Philipp Kirnberger, and Gottfried Weber, among others, is assayed. Opportunities for chromaticism within the 5 and 6 phases...
View articletitled, Schubert, Chromaticism, and the Ascending 5-6 Sequence View PDF for article titled, Schubert, Chromaticism, and the Ascending 5-6 Sequence
Journal Article

Heinichen, Rameau, and the Italian Thoroughbass Tradition: Concepts of Tonality and Chord in the Rule of the Octave

Ludwig Holtmeier
Journal of Music Theory (2007) 51 (1): 5–49.
DOI: https://doi.org/10.1215/00222909-2008-022
Published: 01 April 2007
... of the neo-Ramellian Harmonielehre tradition. The differences are exemplified by comparing Rameau's basse fondamentale with Heinichen's fluctuating understanding of tonality. It was Heinichen who, at the start of the eighteenth century, attempted most thoroughly to conceptualize Italian music theory. Like...
View articletitled, Heinichen, Rameau, and the Italian Thoroughbass Tradition: Concepts of Tonality and Chord in the Rule of the Octave View PDF for article titled, Heinichen, Rameau, and the Italian Thoroughbass Tradition: Concepts of Tonality and Chord in the Rule of the Octave
Journal Article

The Realization of Partimenti: An Introduction

Giorgio Sanguinetti
Journal of Music Theory (2007) 51 (1): 51–83.
DOI: https://doi.org/10.1215/00222909-2008-023
Published: 01 April 2007
...Giorgio Sanguinetti A partimento is a linear guide for the improvisation of a keyboard piece. Partimenti were developed for the training of composers in the conservatories of Naples during the eighteenth century. They contain all the information needed for the realization of complete pieces...
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Journal Article

Partimento, que me veux-tu?

Robert O. Gjerdingen
Journal of Music Theory (2007) 51 (1): 85–135.
DOI: https://doi.org/10.1215/00222909-2008-024
Published: 01 April 2007
...Robert O. Gjerdingen Jean-Jacques Rousseau, eighteenth-century French author and philosopher, was first a musician. As a youth he had been unable to find a qualified music master and hence lacked the training required to excel in his chosen field. He did read carefully the harmony treatise of Jean...
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Journal Article

The Early Reception of Neapolitan Partimento Theory in France: A Survey

Rosa Cafiero
Journal of Music Theory (2007) 51 (1): 137–159.
DOI: https://doi.org/10.1215/00222909-2008-025
Published: 01 April 2007
...Rosa Cafiero The tradition of the Neapolitan school of composition (in which the partimento and its teaching techniques played a significant role) had a major influence on musical training in Paris from the second half of the eighteenth century through the first half of the nineteenth century...
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Journal Article

The Wheatstone Concertina and Symmetrical Arrangements of Tonal Space

Anna Gawboy
Journal of Music Theory (2009) 53 (2): 163–190.
DOI: https://doi.org/10.1215/00222909-2010-001
Published: 01 October 2009
... described in patents of 1829 and 1844. Like the later tonal spaces of the German dualist theorists, the concertina's button layouts were inspired by the work of eighteenth-century mathematician Leonhard Euler, who used a lattice to show relationships among pitches in just intonation. Wheatstone originally...
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Journal Article

Leonhard Euler’s Unfinished Theory of Rhythm

Roger Mathew Grant
Journal of Music Theory (2013) 57 (2): 245–286.
DOI: https://doi.org/10.1215/00222909-2323479
Published: 01 October 2013
... sketches the theory of rhythm that Euler suggested but never finished. The analytical applications of this model are surprising and extend beyond the music of the eighteenth century. Elaborating Euler’s unfinished theory sheds light not only on his work as a music theorist but also—and perhaps more...
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