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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 (2021) 65 (2): 287–323.
Published: 01 October 2021
... characteristics. The first two phrases are the usual antecedent-consequent pair, and the cadences that distinguish them from one another are highlighted for comparison by the end rhyme in the text (from umher to mehr ). In the B phrase, the contrast and fragmentation that are not suggested by the text itself...
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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 (2023) 67 (2): 285–331.
Published: 01 October 2023
... rhythm also correlates with the phrase rhythm and poetic form, with the resolutions to tonic falling in position 5 together with the phrase endings and rhymes. 6 The first two phrases demonstrate the most common internal division: on either side of the caesura, the subdivisions of the phrase each...
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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
...” 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 (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
... attested skills with rhyme and wordplay.” For a different perspective on Eminem's relationship with whiteness and an analysis of its sonic manifestations in his music, see Kajikawa 2015 . 13 As Jason Rodriquez ( 2006 : 646) writes, colorblindness “draws on abstract, liberal notions of equality...
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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 (2023) 67 (1): 171–186.
Published: 01 April 2023
... terminal rhymes is broken only at the end (lines 13 and 14) to accommodate the Lucan quote. 14 In table 6.1 triplum and motetus lines are misaligned twice: motetus line 1 should be even with triplum line 1, and motetus line 6 should stand opposite triplum line 9. These alignments are corrected...
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 (2023) 67 (2): 333–338.
Published: 01 October 2023
... or third line has a rhyming couplet and more syllables than the A phrase does. Though Stoia does have a footnote referencing Walter Everett's more general SRDC idea, I was surprised to find no discussion of thirty-two-bar AABA form or jazz in the book. After reading Sweet Thing more carefully, though, I...
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
... in the canto, in a homorhythmic texture, supported by eight-five-three harmonies, and with identical voice leading. Suggesting that this device retained its expressive potency half a century later, Gesualdo has the chromatic semitone intensify the word partire (to leave), which forms an end rhyme...
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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...