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Journal Article
Journal of Music Theory (2017) 61 (2): 171–200.
Published: 01 October 2017
..., double return, end-rhyme
the revival of Formenlehre over the past decade and a half has set the study
of musical form on a new footing, rehabilitating discarded approaches on
renewed foundations based on newly found sensibilities and insights, and
circumventing the kinds of pitfalls...
Journal Article
Journal of Music Theory (2021) 65 (2): 287–323.
Published: 01 October 2021
... and text is integrated, particularly “at prelexical, phonemic processing levels” (Sammler et al. 2010 : 3572). A robust model of lyric form that integrates text and music would also account for end rhyme and poetic meter in more detail, but most of the examples I discuss here are in Wagner's idiosyncratic...
FIGURES
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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 (2008) 52 (1): 75–122.
Published: 01 April 2008
...” style, such as the discord between musical phrase
and poetic rhyme, or unexpected tonal goals. Note, for example, that verses
6–9 of Tant me plaist end on four different pitches, none of them the C or F
established as tonal goals at the ends of the first four verses; only in the final
verse does...
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 (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 (2022) 66 (2): 303–314.
Published: 01 October 2022
... such as phrase, rhyme, accent, and, indeed, the very features of flow itself, Ohriner introduces a novel conception of “groove” for the analysis of emcees' stylistic fingerprints. At its core, a groove is the specific pattern of syllables that an emcee accents within a measure. As I describe in more detail below...
FIGURES
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 (2021) 65 (2): 375–386.
Published: 01 October 2021
... textures, no complete drum or bass parts are shown. Chapter 5 focuses on aspects of melody: grouping structure and its relationship to the meter and hypermeter, beginning- and end-accented motives, the relationship of melody to rhyme (which is also an important formal determinant in hip-hop, a genre...
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 (2021) 65 (2): 239–285.
Published: 01 October 2021
... retained its expressive potency half a century later, Gesualdo has the chromatic semitone intensify the word partire (to leave), which forms an end rhyme with the next verse, morire (to die). The parallel thirds in the top voices are significant and illustrate Zarlino's ( 1983 : 148) observation...
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Journal Article
Journal of Music Theory (2017) 61 (1): 1–28.
Published: 01 April 2017
...-
ning and ending rhyme. At the beginning, “there are sonic and symphonic
stirrings in the first quivering of the softest tremolo [in the violas], a mere
whisper, more an energetic than a sonic impulse” (153). This energetic impulse
initiates further instrumental...
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
.... 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 to an expanded...
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