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Journal of Music Theory (2020) 64 (1): 1–36.
Published: 01 April 2020
...John Y. Lawrence Listener expectations are a fundamental consideration in formal analysis, common to cognitive and hermeneutic approaches alike. Such approaches maintain that listeners use statistical regularities of musical style to predict where a piece of music is going and then assess what...
Journal of Music Theory (2007) 51 (1): 85–135.
Published: 01 April 2007
... with bass accompaniment. Partimenti were instructional basses from which an apprentice was expected to re-create complete compositions at the keyboard. The prodigious mental powers developed through the study of partimenti, which greatly facilitated improvisation and composition, gave a competitive...
Journal of Music Theory (2018) 62 (2): 205–248.
Published: 01 October 2018
..., and expectation. These concepts allow him to develop detailed speculations about a range of conscious and unconscious dispositions of perception. This study explicates the Essay ’s speculative theories and contextualizes them both within eighteenth-century music theory and in light of contemporary psychology...
Journal of Music Theory (2019) 63 (1): 35–70.
Published: 01 April 2019
... modifies the prototypical big-band arrangement by merging the solo section with the ensemble feature, resulting in a trademark “Solo-Recapitulation trajectory,” which creates a deep-level structure comprising three “Spaces.” “Space division criteria” capture how broad expectations for jazz performance...
Journal of Music Theory (2020) 64 (1): 37–61.
Published: 01 April 2020
... present an opportunity to ask significant questions about the role of silence in Carter’s music. The evaluation of Carter’s lecture in this article situates his understanding of musical silence in the broader context of musical expectation and reveals the influence of Alfred North Whitehead. Analyses...
Journal of Music Theory (2014) 58 (2): 155–178.
Published: 01 October 2014
... .” Journal of the Acoustical Society of America 94/4 : 1953 – 57 . Conklin Darrell Witten Ian . 1995 . “ Multiple Viewpoint Systems for Music Prediction .” Journal of New Music Research 24/1 : 51 – 73 . Cuddy Lola Lunney Carol . 1995 . “ Expectancies Generated by Melodic...
Journal of Music Theory (2017) 61 (2): 171–200.
Published: 01 October 2017
... rotational logic. The appearance of a double return engenders expectations of an entire rotation—that is, the principal theme plus the “modified section” and the second half of the sec- ond half of the exposition, now transposed to the tonic—opening up the wealth of possibilities that enable dialogic...
Journal of Music Theory (2010) 54 (2): 235–282.
Published: 01 October 2010
... (Versetzung) on the dominant.1 The third phrase announces itself as one more displacement of the phrase, bringing it back to the tonic, but is cut off after only four measures by the sharp disso- nance intruding in m. 15. Although the melody continues as expected, the untimely entrance...
Journal of Music Theory (2000) 44 (1): 45–79.
Published: 01 April 2000
... this not be clear to singers without a sign? The effect of the held d-b-mi sonority at the end of the poetic line is to form an aural expectation of resolution to c8.44 This sense of expecta- tion—employed by Machaut to reﬂect the syntactical units of the text in the musical syntax—would be compromised by b...
Journal of Music Theory (2019) 63 (1): 139–144.
Published: 01 April 2019
... of Expectation . Cambridge, MA : MIT Press . McDermott Josh H. Schultz Alan F. Undurraga Eduardo A. Godoy Ricardo A. 2016 . “ Indifference to Dissonance in Native Amazonians Reveals Cultural Variation in Music Perception .” Nature , no. 7613 : 547 – 50 . ...
Journal of Music Theory (2007) 51 (2): 245–276.
Published: 01 October 2007
.... Harris, Ellen T. 2005 . “Silence as Sound: Handel's Sublime Pauses.” Journal of Musicology 22 : 521 -58. Hepokoski, James. 1984 . “Formulaic Openings in Debussy.” Nineteenth-Century Music 8 : 44 -59. Huron, David. 2006 . Sweet Anticipation: Music and the Psychology of Expectation...
Journal of Music Theory (2012) 56 (1): 87–120.
Published: 01 April 2012
Journal of Music Theory (2013) 57 (2): 383–418.
Published: 01 October 2013
... their presence in their absence (the marked deformation presupposes the unmarked norm). After all, in order for a work to stand forth against its background, we need that back- ground, that horizon of expectations against which the work’s specificity can be gauged, its aesthetic value assessed. What Hans...
Journal of Music Theory (2006) 50 (2): 181–210.
Published: 01 October 2006
... examine it, when we change our temporal perspective. Lewin argues, for example, that the interpretation of an individual harmony can be different if one analyzes it in the context of the preceding measures, the following measures, these two together, or the preceding measures and the expectations...
Journal of Music Theory (2016) 60 (2): 281–294.
Published: 01 October 2016
.... Syncopation by dis- placement is rightly said to be so common as to be expected (the normative backbeat is one obvious case), and cross-rhythms are considered categorically different in their conspicuousness. Moore argues for analyzing harmony according to the diatonic jazz modes, with his roman...
Journal of Music Theory (2003) 47 (1): 41–101.
Published: 01 April 2003
... and keen wit his public had come to expect. What is more remarkable in this set is Haydn’s daringly experimental approach toward form, anticipating—perhaps even defining—the quest that Beethoven would pursue in this medium. The sixth quartet of opus 76, in E≤ major, has been generally recognized...
Journal of Music Theory (2000) 44 (2): 323–379.
Published: 01 October 2000
...- lowing its expected course. This may result in the repetition of action, an increase in the force of propulsion, or the search for an alternative path- way, as suggested by entailment 7. Entailment 8 reﬂects the way we experience speed and tension as they play a part in our own goal-directed...
Journal of Music Theory (2015) 59 (2): 235–271.
Published: 01 October 2015
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 of Music Theory (1999) 43 (2): 231–255.
Published: 01 October 1999
... rely on certain expectations based on expe- rience, familiarity, and knowledge to make sense of the music they listen to. These expectations—which also inform music analysis—are charac- teristic of musical thinking, but are not necessarily properties of the musi- cal sounds themselves. Music...