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Journal of Music Theory (2015) 59 (1): 1–61.
Published: 01 April 2015
... schema Così fan tutte Artaserse eighteenth-century opera Works Cited Agawu V. Kofi. 1991 . Playing with Signs: A Semiotic Interpretation of Classical Music . Princeton, NJ : Princeton University Press . ———. 2009 . Music as Discourse: Semiotic Adventures in Romantic Music...
Journal of Music Theory (2013) 57 (1): 119–129.
Published: 01 April 2013
...Robert O. Gjerdingen Robert O. Gjerdingen is the author of several books, articles, and reviews in the fields of music theory, music perception, and eighteenth-century musical style. He has served on the editorial boards of Music Theory Spectrum , the Journal of Music Theory...
Journal of Music Theory (2021) 65 (1): 81–106.
Published: 01 April 2021
.... In 1716, the Paris Opera held its first series of bals publics , balls open to anyone who could pay the admission fee and where all were required to wear a mask. Richard Templar Semmens ( 2004 ) notes that, by 1744, eighteenth-century Paris opera balls had become the model for court balls at Versailles...
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Journal of Music Theory (2012) 56 (2): 225–283.
Published: 01 October 2012
... of opera to eighteenth- and nineteenth-century musical cul- ture and of the fact that developments in instrumental music have often reflected prior developments in opera. Rosen’s chapter on Bellini is informa- tive but not particularly analytical—less so, certainly...
Journal of Music Theory (2014) 58 (1): 67–77.
Published: 01 April 2014
... on the History of Music Theory and Literature for the Twenty-First Century , ed. Giger Andreas Mathiesen Thomas J. , 195 – 216 . Lincoln : University of Nebraska Press . Caplin William . 2005 . “ On the Relation of Musical Topoi to Formal Function .” Eighteenth-Century Music 2 : 113...
Journal of Music Theory (2007) 51 (1): 85–135.
Published: 01 April 2007
... that their graduates dominated the field of opera for much of the eighteenth century. Later reception The term partimento began the eighteenth century as a regional variant of basso continuo. Neapolitan maestros, instead of viewing basso continuo...
Journal of Music Theory (2003) 47 (2): 273–304.
Published: 01 October 2003
... describes the eighteenth-century notion of the monstrous in conjunc- tion with music criticism and Rameau’s opera: see Dill 1998, 12–14. I am grate- ful to Thomas Christensen for suggesting the relevance of this notion to the argu- ment of the present study. 32. Es sind freylich nicht allemal...
Journal of Music Theory (2016) 60 (2): 263–279.
Published: 01 October 2016
..., Boss also attempts to 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...
Journal of Music Theory (2006) 50 (1): 128–139.
Published: 01 April 2006
... musical life in preceding chapters as a kind of hors d’oeuvre. It is useful to be reminded, for instance, that a significant number of eighteenth- and nineteenth-century Italian musicians worked in Russia for significant periods as composers of court operas and entertainments, satisfy- ing...
Journal of Music Theory (2020) 64 (1): 1–36.
Published: 01 April 2020
... to conclusions that Caplin does not approve of. In The Half Cadence and Related Analytic Fictions, Burstein (2015b) argues that dominant sevenths and even inversions of dominant chords can successfully conclude cadential progressions in eighteenth-century music.25 His justification is precisely the same...
Journal of Music Theory (2007) 51 (1): 161–186.
Published: 01 April 2007
.... Important musicians and theorists published new partimento-based works that tried to cope with the problems raised in teach- ing composition under this new aesthetic regime. This altered situation was also reflected in the way that partimenti were used. In the eighteenth century...
Journal of Music Theory (2005) 49 (1): 141–180.
Published: 01 April 2005
... effets (Rousseau 1755b, 34334 It is this subtle metaphysics, harking back to the mythical music of ancient Greece, that Rousseau believed could be found in the sublime enharmonicism of Gluck’s Orfeo late in life.35 While the passage was clearly written in eighteenth-century tonal harmonies...
Journal of Music Theory (2000) 44 (1): 127–169.
Published: 01 April 2000
...- sitions unless they appear in a new form” (Koch [1787, 434] 1983, 45).2 In his admonition Koch echoes widely held opinions about sequential repetition in Germany during the second half of the eighteenth century: it constitutes an old-fashioned idiom, and it is a monotonous, schematic compositional...
Journal of Music Theory (2007) 51 (1): 51–83.
Published: 01 April 2007
... different styles convincingly, skills indispens- able if one wanted to survive in the boisterous opera market of the eighteenth (and nineteenth) century. Partimento training played a decisive role in the development of these skills and contributed...
Journal of Music Theory (2008) 52 (2): 181–218.
Published: 01 October 2008
...: Clarendon Press. Eisen, Cliff. 2005 . “The Rise (and Fall) of the Concerto Virtuoso in the Late Eighteenth and nineteenth Centuries.” In The Cambridge Companion to the Concerto , ed. Simon Keefe, 177 -91. Cambridge: Cambridge University Press. Engel, Hans. 1974 . Das Instrumentalkonzert: Eine...
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 of Music Theory (2003) 47 (1): 1–39.
Published: 01 April 2003
... certainly become aware of this “preferred” listening strategy, since such an approach has become both pervasive and conventional. Furthermore, since the discourse of eighteenth-century sonatas and sym- phonies initially developed out of opera, it seems likely that a listener would be prompted to hear...
Journal of Music Theory (1999) 43 (1): 165–190.
Published: 01 April 1999
... century opera is allowable in this discussion, what of the brief returning strains of “Mi chiamano Mimì” (Act 1) as Mimi lies dying in Act 4 of “La Bohème”—not to mention Wagner’s ever recurring leitmotives? What of the numerous Grundgestalt interconnections in numerous works of the eighteenth...
Journal of Music Theory (2011) 55 (1): 147–153.
Published: 01 April 2011
... of this music is offered. The repertoire encompassed continues the religious focus alluded to above, 1 Connections with early eighteenth-century thorough- scale” (199–200), where, as Kahan aptly observes, we bass texts are perhaps most readily apparent in Polignac’s may make...
Journal of Music Theory (2013) 57 (2): 321–371.
Published: 01 October 2013
... .” In The Creative World of Mozart , ed. Lang Paul Henry , 56 – 75 . New York : Norton . Duane Ben . 2012 . “ Agency and Information Content in Eighteenth- and Early Nineteenth-Century String-Quartet Expositions .” Journal of Music Theory 56 : 87 – 120 . Dunsby Jonathan . 2010...