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eighteenth century

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Journal Article
Journal of Music Theory (2000) 44 (2): 381–450.
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...
Journal Article
Journal of Music Theory (2003) 47 (2): 273–304.
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...
Journal Article
Journal of Music Theory (2018) 62 (2): 205–248.
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...
Journal Article
Journal of Music Theory (2021) 65 (1): 81–106.
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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Journal Article
Journal of Music Theory (2009) 53 (2): 255–304.
Published: 01 October 2009
... describe and give detailed criteria for identifying each technique. In doing so, I provide a new vocabulary by which scholars and analysts can model the way in which they hear chromatic music from this period. A New Theory of Chromaticism from the Late Sixteenth to the Early Eighteenth Century...
Journal Article
Journal of Music Theory (2010) 54 (2): 235–282.
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...
Journal Article
Journal of Music Theory (2013) 57 (2): 383–418.
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...
Journal Article
Journal of Music Theory (2012) 56 (1): 87–120.
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...
Journal Article
Journal of Music Theory (2020) 64 (2): 203–240.
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...
Journal Article
Journal of Music Theory (2007) 51 (1): 137–159.
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...
Journal Article
Journal of Music Theory (2009) 53 (2): 163–190.
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...
Journal Article
Journal of Music Theory (2013) 57 (2): 245–286.
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...
Journal Article
Journal of Music Theory (2007) 51 (1): 5–49.
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...
Journal Article
Journal of Music Theory (2007) 51 (1): 51–83.
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...
Journal Article
Journal of Music Theory (2007) 51 (1): 85–135.
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...
Journal Article
Journal of Music Theory (2014) 58 (1): 25–56.
Published: 01 April 2014
... as “structurally insignificant shells of traditional forms.” Reevaluation of Schumann’s expositions reveals both the genuine connections he forges with eighteenth-century practice and the integral role this creative appropriation plays in his distinctive compositional voice. A positive reassessment emerges via...
Journal Article
Journal of Music Theory (2016) 60 (1): 51–88.
Published: 01 April 2016
...Peter H. Smith Schumann's adaptations of eighteenth-century instrumental forms have long been regarded as problematic, as have the works of his late style period of the 1850s. The Cello Concerto op. 129 (composed 1850, published 1854) is a late work based on classical models that has earned a place...
Journal Article
Journal of Music Theory (2015) 59 (1): 1–61.
Published: 01 April 2015
...Paul Sherrill; Matthew Boyle Italianate recitative of the eighteenth and early nineteenth centuries constituted a distinct musical language that coexisted with the familiar style of common practice music. In this article we propose a theory of that language (“galant recitative”), which we...
Journal Article
Journal of Music Theory (2019) 63 (2): 209–229.
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...
Journal Article
Journal of Music Theory (2009) 53 (2): 305–328.
Published: 01 October 2009
.... 2006 . Elements of Sonata Theory: Norms, Types, and Deformations in the Late Eighteenth-Century Sonata . New York: Oxford University Press. Jackendoff, Ray. 1991 . “Musical Parsing and Musical Affect.” Music Perception 9 : 199 –230. Kamien, Roger. 1993 . “Conflicting Metrical Patterns...