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eighteenth-century music

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Journal Article
Journal of Music Theory (1 October 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 (1 October 2018) 62 (2): 205–248.
Published: 01 October 2018
... 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 (1 October 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 (1 April 2012) 56 (1): 87–120.
Published: 01 April 2012
... listeners. The current line reflects their evolv- ing apprehension of the entire string part as it unfolds. The current phrase represents their immediate experience of recent musical events. And the corpus models their larger familiarity with the style of eighteenth- and early nineteenth-century...
Journal Article
Journal of Music Theory (1 April 2018) 62 (1): 41–84.
Published: 01 April 2018
... Eighteenth-Century Tonality with Beethoven’s ‘Eroica’ Symphony as a Case Study .” Ph.D. diss. , Yale University . Byros Vasili . 2013 . “ Trazom’s Wit: Communicative Strategies in a ‘Popular’ Yet ‘Difficult’ Sonata .” Eighteenth-Century Music 10 / 2 : 213 – 52 . Byros Vasili...
Journal Article
Journal of Music Theory (1 October 2003) 47 (2): 273–304.
Published: 01 October 2003
... Rhetoric: Musical Form and the Metaphor of the Oration, by Mark Evan Bonds. Music Theory Spectrum 16/1 : 124 -33. Lester, Joel. 1992 . Compositional Theory in the Eighteenth Century . Cambridge: Harvard University Press. Marpurg, Friedrich Wilhelm. 1755-1760. Handbuch bey dem Generalbasse und...
Journal Article
Journal of Music Theory (1 October 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 (1 October 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 (1 October 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 (1 April 2010) 54 (1): 37–60.
Published: 01 April 2010
... Journal of Music Theory There are at least two interrelated sets of difficulties with this model. On the one hand, Cavell has combined this public ethical model with a sentimental, private component characteristic of post-eighteenth-century lit...
Journal Article
Journal of Music Theory (1 April 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 (1 April 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 (1 April 2007) 51 (1): 5–49.
Published: 01 April 2007
... 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...
Journal Article
Journal of Music Theory (1 October 2016) 60 (2): 263–279.
Published: 01 October 2016
... associate Schoenberg with eighteenth-century theorists of musical rhetoric, with mixed results. This argument proceeds primarily on two grounds: shared terminology, and related discussion of certain formal processes, such as contradictions that contrast with the main theme (which, as Boss notes...
Journal Article
Journal of Music Theory (1 October 2009) 53 (2): 163–190.
Published: 01 October 2009
... similarity was noted briefly in Hall (2006). 176 Journal of Music Theory Figure 6.  Tonal space in just intonation from Oettingen, Harmoniesystem in dualer Entwickelung (1866) work of the eighteenth-century acoustician Leonhard Euler, who employed...
Journal Article
Journal of Music Theory (1 October 2006) 50 (2): 277–290.
Published: 01 October 2006
... pp. ($45.00 cloth) David Temperley For the student of late-eighteenth-century music seeking analytical methods to guide their investigations, a wide, even overwhelming, range of options is available—perhaps more than for any other period of music history. Roman numeral analysis is...
Journal Article
Journal of Music Theory (1 October 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 in...
Journal Article
Journal of Music Theory (1 October 2012) 56 (2): 169–223.
Published: 01 October 2012
.... Although a species approach to counterpoint was first introduced in the Renaissance period, it received its definitive treatment in the early eighteenth century with the publication of Johann Joseph Fux’s landmark treatise Gra- dus ad Parnassum  (1725, 1965).  among Fux’s most influential and...
Journal Article
Journal of Music Theory (1 October 2017) 61 (2): 289–296.
Published: 01 October 2017
... Evolution . Oxford : Clarendon . Caplin William . 2002 . “ Theories of Rhythm in the Eighteenth and Nineteenth Centuries .” In The Cambridge History of Western Music Theory , ed. Christensen Thomas , 657 – 94 . Cambridge : Cambridge University Press . DeFord Ruth I. 2015...
Journal Article
Journal of Music Theory (1 April 1999) 43 (1): 135–163.
Published: 01 April 1999
... monotonality” (p. 17) in this song is excessive. Indeed, if this is “multitonal,” much eighteenth century music must be so as well. The problem is underscored in Kreb’s two Schenkerian graphs, one in C≥ minor and the other in E major. Taken jointly, they imply that either key can be viewed as...