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Journal Article
Journal of Music Theory (2000) 44 (2): 381–450.
Published: 01 October 2000
... vols. in 4). Hildesheim: G. Ohms, 1974, vol. 2 and 4 (music). Zaslaw, Neal, ed. 1996 . Mozart's Piano Concertos: Text, Context, Interpretation. Ann Arbor: University of Michigan Press. THE LARGE-SCALE FORMAL ROLE OF THE SOLO ENTRY THEME IN THE EIGHTEENTH-CENTURY CONCERTO...
Journal Article
Journal of Music Theory (2014) 58 (1): 1–24.
Published: 01 April 2014
... of modulatory work falls on episodes, rendering alteration of the subject largely unnecessary.) The eight enchained entries of the subject, which are numbered and aligned in Example 1 for ease of comparison, replicate the essential harmonic and durational structure...
Journal Article
Journal of Music Theory (2008) 52 (1): 151–158.
Published: 01 April 2008
... may simply thumb through the dictionary or literature supplement to find an unexpected item of interest or a point of entry into the field. The central strength of MTBZ as a guide for the nonspecialist lies in its multifaceted approach...
Journal Article
Journal of Music Theory (2001) 45 (1): 151–162.
Published: 01 April 2001
...), as well as official documents, the latter chiefly to illuminate Schenker’s student years” (VIII). To present a picture in Schenker’s own words as far as possible, “[diary-]entries and letter-extracts of greater importance are quoted literally.”3 The quoted passages are placed in per- spective through...
Journal Article
Journal of Music Theory (2001) 45 (1): 73–118.
Published: 01 April 2001
... are those weakly placed quarter-notes that fill in the interval of a third (e.g., m. 9, voice 1, etc The consonant stability of the whole is reinforced by the fact that the first eight entries join the texture as its lowest note, forming a ‘root- position’ triad; subsequent entries also enter as the tonic...
Journal Article
Journal of Music Theory (2001) 45 (1): 204–227.
Published: 01 April 2001
... served by the newest edition of the celebrated music encyclopedia. Especially encouraging are the short entries by William Drabkin on various technical terms (listed above). A few of these are new, but most are revisions of Drabkin’s en- tries in the previous (1980) edition. The improvements...
Journal Article
Journal of Music Theory (2006) 50 (1): 25–63.
Published: 01 April 2006
... Abstracts of Music Literature (since 1967), and Music Index (since 1975). Only IIMP goes back to 1957, and even it lacks abstracts and indication of document types for JMT items up to volume 38.3 RILM entries include articles alone...
Journal Article
Journal of Music Theory (2003) 47 (1): 103–123.
Published: 01 April 2003
... can be reduced in half on account of Theorem 1. Thus an exhaustive table of trichord pairs and their PROGVs can be compressed without loss into (174/2) + 19 = 106 entries. The same approach compresses the 108900 distinct trichord-to-tetra- chord pairs into a table with 446 entries; by Theorem 1...
Journal Article
Journal of Music Theory (1999) 43 (2): 349–358.
Published: 01 October 1999
..., nothing lacking. Nonetheless, a performance with the vocal final movement is an overwhelming experience and lead, in my case, to the conclusion that the work is incomplete when done without voice. The vocal entry clarifies the dramatic course of the preceding movements and creates the impression...
Journal Article
Journal of Music Theory (2004) 48 (1): 99–141.
Published: 01 April 2004
... inverse, and an occurrence of a caption of a row or column within the body of the same row or column corresponds to a multiplication by the identity. The ab- sence of foreign entries demonstrate closure. Figure 3a supplies an illus- tration. The occurrence of T0 in the table’s second row, third column...
Journal Article
Journal of Music Theory (2003) 47 (1): 215–222.
Published: 01 April 2003
.... But the “simulated keys” of E major/minor, F major/minor, and G major/minor are also chromatic; Schenker writes dto. (“ditto”) in each case, following his entry for E≤. Schenker explains what he means by “a chromatic key” at the first appear- ance of such a key in the table, in his entry for D≤ major/minor...
Journal Article
Journal of Music Theory (2006) 50 (1): 7–23.
Published: 01 April 2006
... DOI 10.1215/00222909-2008-004  © 2008 by Yale University 7 8 Journal of Music Theory many entries in a “theory forum,” dedicated to ideas that did not warrant a full-length article, two special-topics forums...
Journal Article
Journal of Music Theory (2007) 51 (2): 211–243.
Published: 01 October 2007
... triply related to the dotted-half pulse of the measure level and moving upward in duple relationships to 2-, 4-, and 8-measure levels. The 4- and 8-measure lev- els are articulated by fugal entries alternating between D minor and A minor.8 Example...
Journal Article
Journal of Music Theory (2005) 49 (1): 1–43.
Published: 01 April 2005
Journal Article
Journal of Music Theory (2013) 57 (1): 1–45.
Published: 01 April 2013
... up to the present day. Jim Samson’s entry on genre in the New Grove, for instance, avers that works of twentieth-century music are “less concerned to exemplify genres than to make their own statement,” add- ing that “genre definitions and classification...
Journal Article
Journal of Music Theory (2008) 52 (1): 13–40.
Published: 01 April 2008
... with which the treatise ends, Hucbald gives no entries at the lower fourth for deuterus or tritus melodies, while for tetrardus (as he had explicitly 13  Given an environment that had no fixed pitch notation, that he subscribes to octave equivalence, the most direct such a statement has little...
Journal Article
Journal of Music Theory (2010) 54 (1): 1–4.
Published: 01 April 2010
... this is no surprise considering that “Music Discomposed” was the essay we had read together in the interest group that generated the momentum behind this issue.) That essay, now securely entering its fifth decade, is the entry point for all queries about Cavell and music. To the reader, I gently suggest...
Journal Article
Journal of Music Theory (2007) 51 (1): 161–186.
Published: 01 April 2007
.... The formal scheme of this fugue includes two sections that do not appear in other traditions. They were called imitazione and modulazione. Both are sections that connect thematic statements (see Example 2). The imitazione consists of a nonmodulating sequence that makes use of imitative entries...
Journal Article
Journal of Music Theory (2005) 49 (1): 141–180.
Published: 01 April 2005
Journal Article
Journal of Music Theory (2012) 56 (2): 293–298.
Published: 01 October 2012
... Kirnberger, Simon Sechter, Georg Joseph Vogler, Gottfried Weber, and Moritz Hauptmann, to works of forty authors who did not merit entries in Damschroder and William’s 1990 bibliography, Music Theory from Zarlino to Schenker, and in many cases have received little...