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end-rhyme

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Journal Article
Journal of Music Theory (2017) 61 (2): 171–200.
Published: 01 October 2017
... practice. Copyright © 2017 by Yale University 2017 sonata form big data recapitulation double return end-rhyme Works Cited Allsop Peter . 1999 . Arcangelo Corelli: New Orpheus of Our Times . Oxford : Oxford University Press . Bonds Mark Evan . 1988 . “ Haydn’s False...
Journal Article
Journal of Music Theory (2001) 45 (2): 457–469.
Published: 01 October 2001
... accentual patterns, and overlapping sentence/line struc- tures. But there is strong evidence to suggest that these irregularities actually disguise certain underlying symmetries. Figure 2 gives the text of Goethe’s poem.2 It has eight lines. When arranged by end-rhyme, these lines group into four two...
Journal Article
Journal of Music Theory (2014) 58 (2): 103–154.
Published: 01 October 2014
.../ in /ʃp/ in Spruch or /pf/ and /ts/ in Pfalz) as complexes that Herbst. occupy just one position (C) in the skeletal model of the 110 JOURNAL of MUSIC THEORY The nucleus and coda together form the rhyme, which is a phonological com- ponent related to end rhyme...
Journal Article
Journal of Music Theory (1999) 43 (1): 101–133.
Published: 01 April 1999
..., but in which a transposed cadence phrase creates end-rhyme. This is important because such design schemes abound in binary dances of baroque suites and in other dance-related movements.20 Indeed, it is not difficult to find addi- tional examples in Bach’s works: the Allemande, Courante, and Sara- bande from...
Journal Article
Journal of Music Theory (2008) 52 (1): 75–122.
Published: 01 April 2008
Journal Article
Journal of Music Theory (2013) 57 (2): 419–431.
Published: 01 October 2013
... observe that the downbeats of mm. 18, 36, 48, and 56 coincide with the end-rhyme syllables of the poem’s main sections (the first and second strophe pairs, the penultimate line of the stanza, and the refrain that concludes the stanza) and with perfect sonorities (1–5–8 consonances above D, C, D...
Journal Article
Journal of Music Theory (2008) 52 (1): 123–149.
Published: 01 April 2008
... begin and end on G or d; Plebs fidelis in Example 4 is in mode 1, and all phrases begin and end on D or a. O huberte dedicatam The textual organization of alternating rhymes in the Magnificat antiphon O huberte dedicatam has some significance...
Journal Article
Journal of Music Theory (2000) 44 (1): 236–249.
Published: 01 April 2000
... but because of the structural implications, in that “My Funny Valentine” is one of any num- ber of American popular songs, several of them considered in this vol- ume, that posit a powerful minor-key ethos only to have abandoned it for the relative major by the end of the refrain. Cynically or sadly, one...
Journal Article
Journal of Music Theory (2003) 47 (2): 325–362.
Published: 01 October 2003
..., there are two parts, parallel phrases that are similar at the beginning and dif- ferent at the end. Since this is a song, the rhyme scheme and structure of the text support the ouvert and clos arrangement. The melodic design of the ouvert ending of De bonté, de valour sets up an expectation...
Journal Article
Journal of Music Theory (1999) 43 (2): 283–314.
Published: 01 October 1999
... flows smoothly into the next so that the smoothly into the next so that the end of end of one gesture becomes the beginning one motion becomes the beginning of the of the next and the musical inertia of one next and the momentum of one motion motion carries us through possible stop- carries us...
Journal Article
Journal of Music Theory (1999) 43 (2): 315–347.
Published: 01 October 1999
... aspects of night and day. Such lines as, “tick, tick, tock, of the stately clock,” and “when the summer, shower is through,” demonstrate Porter’s masterful ability to imitate the sounds signified by the lyric through skillful control of alliteration, consonances, and interior rhymes. The lyrics...
Journal Article
Journal of Music Theory (2013) 57 (2): 373–381.
Published: 01 October 2013
... would expect to find in a compre- hensive pedagogy of musica plana: tonal system, solmization, interval theory, and modal classification. (In addition, many of the manuscripts end with substantial tonaries.) Based on the provenance of a number of these manu...
Journal Article
Journal of Music Theory (2017) 61 (1): 1–28.
Published: 01 April 2017
...,” which offers a biographical account vignettes. I examine one of these vignettes at the end of of Anton Bruckner, and “Die Formdynamik,” which fea- the essay. Volume 2 of Bruckner also contains two large Journal of Music Theory  61:1, April 2017 DOI 10.1215/00222909-3855702  © 2017 by Yale...
Journal Article
Journal of Music Theory (2016) 60 (2): 281–294.
Published: 01 October 2016
... the relevant questions at the end of each individual chapter, immediately after the discus- sions of the related terms. Framed by “Methodology” (chap. 1) and the concluding “Questions” (chap. 11), the main text arrives in nine installments: chapters 2...
Journal Article
Journal of Music Theory (2010) 54 (2): 179–234.
Published: 01 October 2010
... current understanding of motet chronology. An analysis of several passages from Motet 4 illustrates how the proposed nomenclature may offer a more nuanced understanding of musical syntax, particularly at phrase endings. Yale University 2011 Jared C. Hartt is assistant professor of music theory...
Journal Article
Journal of Music Theory (2001) 45 (2): 233–261.
Published: 01 October 2001
...) Figure 3. Rhythmic motives representing poetic feet three quatrains end similarly (see the curly brackets on the right side). Indeed, all the vocal cadences at the ends of the quatrains rhyme both rhythmically and melodically (see Example 1, mm. 4, 9, and 15); the final line of the poem is set...
Journal Article
Journal of Music Theory (2000) 44 (1): 45–79.
Published: 01 April 2000
... of the relationship of an arhythmic, consonant contrapuntal background to the rhythmic, and frequently dissonant, foreground. For an analyst at the end of the twentieth century with an interest in the repertory of fourteenth-century songs, the heuristic analytical tool that an understanding of counterpoint...
Journal Article
Journal of Music Theory (2012) 56 (2): 225–283.
Published: 01 October 2012
... blocks around which complete operatic numbers—arias, duets, and so on— are constructed. “Casta diva” is a typical pezzo chiuso: it is a self-contained piece, in a single key and tempo, with complete closure at its end.8 But it consti- tutes  only one movement...
Journal Article
Journal of Music Theory (2015) 59 (1): 1–61.
Published: 01 April 2015
... discuss below. Paul Sherrill and Matthew Boyle    Galant Recitative Schemas 5 cards is not explicitly demarcated by a rest, the dividing point between adja- cent cards can be identified by three subsidiary considerations. Two are strictly musical: cards tend to end on, or just...
Journal Article
Journal of Music Theory (2011) 55 (1): 1–41.
Published: 01 April 2011
... the following formal structure: Definition 3:  For any integer function f, and for any integers BEG and END such that END  BEG, the iteration of f from BEG to END, John Roeder    Transformational Aspects of Arvo Pärt’s Tintinnabuli Music 7 symbolized...