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exposition

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Journal Article
Journal of Music Theory (1 April 2014) 58 (1): 25–56.
Published: 01 April 2014
...Peter H. Smith Commentators have traditionally judged Schumann’s sonata forms negatively, despite recent positive reassessments. In the response to Schumann’s expositions, even two of his most insightful advocates, Linda Correll Roesner and Anthony Newcomb, portray Schumann’s designs as...
Journal Article
Journal of Music Theory (1 October 2006) 50 (2): 143–179.
Published: 01 October 2006
... these composers with one among a number of integrative strategies to counterbalance the threat of self-contained lyricism in the middle sections of their tripartite expositions. In one type of expositional context, this integration involves harmonic linkage designed specifically to efface a formal...
Journal Article
Journal of Music Theory (1 October 2006) 50 (2): 181–210.
Published: 01 October 2006
...Lauri Suurpää This study examines interactions among form, Schenkerian voice-leading structure, and certain dramatic features in two Mozart expositions: the second movement of the G-minor symphony, K. 550, and the opening movement of the G-minor string quintet, K. 516. The analyses frequently...
Journal Article
Journal of Music Theory (1 April 2012) 56 (1): 87–120.
Published: 01 April 2012
... computational model, which I have proposed elsewhere, to estimate the information content a listener would perceive when listening to a piece of music. I then compare this model’s output to traditional musical analyses of several string-quartet expositions, demonstrating a qualitative correlation between the...
Journal Article
Journal of Music Theory (1 October 2008) 52 (2): 181–218.
Published: 01 October 2008
...Roman Ivanovitch The article examines a group of closing gestures in Mozart's piano concertos, passages of soloistic virtuosity just before the last tuttis of the exposition and recapitulation. Serving as grand cadential clinchers and clothed in conventional figuration, these spots—sometimes called...
Journal Article
Journal of Music Theory (1 April 2014) 58 (1): 1–24.
Published: 01 April 2014
... for keyboard. It turns out that the subject of this fugue is so marked in rhythm and contour that it seems to motivate—and even demand—its own transformation as the fugue unfolds. One consequence of such transformation is a series of metric shifts from triple hypermeter during expositions to duple...
Journal Article
Journal of Music Theory (1 April 2017) 61 (1): 1–28.
Published: 01 April 2017
...Daphne Tan Ernst Kurth's writings on musical form, while celebrated by many scholars, have been subject to differing interpretations and outright dismissal. Bruckner (1925), his best-known exposition on form, is daunting in scope and idiosyncratic in tone. A more sizable challenge, however, is...
Journal Article
Journal of Music Theory (1 October 2017) 61 (2): 171–200.
Published: 01 October 2017
...Yoel Greenberg This article investigates the sources of the recapitulation using statistical methods. The recapitulation has traditionally been viewed as an expansion of small ternary forms, resulting in a top-down approach, whereby the repeat of expositional material is explained in rotational...
Journal Article
Journal of Music Theory (1 October 2013) 57 (2): 383–418.
Published: 01 October 2013
...-Part Exposition, and the Classical Transition Section .” Paper presented at the annual AMS/SMT Conference , 3 November , Los Angeles . Caplin William E. 1991 . “ Structural Expansion in Beethoven’s Symphonic Forms .” In Beethoven’s Compositional Process , ed. Kinderman William...
Journal Article
Journal of Music Theory (1 April 2001) 45 (1): 144–150.
Published: 01 April 2001
...- poser’s frequent use of uncommon second tonal area keys in his expositions, and, of course, his well-known three-key expositions. For a thorough discussion of these, and other, features that defy Schenker’s structural approach, see Smith’s “Investigation of Schenker’s Formenlehre.” 9. Figure...
Journal Article
Journal of Music Theory (1 April 2001) 45 (1): 119–143.
Published: 01 April 2001
... young teenager, to the framing movements of the B≤ Piano Trio and the finale of the Great C-major Symphony, both conceived in the last years of his life. His well-known propensity for preserving in the recapitulation the broad modulation scheme of the exposition underlies many of these designs, such...
Journal Article
Journal of Music Theory (1 April 2019) 63 (1): 103–138.
Published: 01 April 2019
... . Leuven : Leuven University Press . Caplin William E. Martin Nathan John . 2016 . “ The ‘Continuous Exposition’ and the Concept of Subordinate Theme .” Music Analysis 35 , no. 1 : 4 – 43 . Cone Edward T. 1971 . Berlioz: Fantastic Symphony . New York : Norton . Cone...
Journal Article
Journal of Music Theory (1 April 2016) 60 (1): 51–88.
Published: 01 April 2016
... Collide: The Three-Key Exposition Revisited.” Music Theory Spectrum 36 / 2 : 247 – 69 . Kapp Reinhard . 1982 . Studien zum Spätwerk von Robert Schumann . Tutzing : Schneider . Kerman Joseph . 1999 . Concerto Conversations . Cambridge, MA : Harvard University Press...
Journal Article
Journal of Music Theory (1 October 2004) 48 (2): 337–354.
Published: 01 October 2004
...: Cambridge University Press. Garlington, Aubrey S., Jr. 1983 . “Harzreise as Herzreise: Brahms's Alto Rhapsody.” Musical Quarterly 69 : 527 -42. Gibbs, Christopher H. 2000 . The Life of Schubert . Cambridge: Cambridge University Press. Graybill, Roger. 1983 . “ Brahms's Three-Key Expositions...
Journal Article
Journal of Music Theory (1 April 2003) 47 (1): 41–101.
Published: 01 April 2003
... portion of the first movement of op. 76/6 beginning with the fugato is given in Example 6.) Chromatic unfolding is coordinated with the form of the fugal passage. The fugal exposition consists of four squarely phrased statements of the subject in turn by violin 2, violin 1, cello, and viola; only the...
Journal Article
Journal of Music Theory (1 October 2002) 46 (1-2): 347–363.
Published: 01 October 2002
... “für Anfänger.” Indeed, this little work is usually the first Mozart sonata studied by aspiring pianists after the sonatinas by Clementi and Kuhlau. The exposition of the first movement proceeds as one would expect in a sonata movement in major, beginning in C major and closing in G major. I...
Journal Article
Journal of Music Theory (1 October 2002) 46 (1-2): 364–368.
Published: 01 October 2002
... “für Anfänger.” Indeed, this little work is usually the first Mozart sonata studied by aspiring pianists after the sonatinas by Clementi and Kuhlau. The exposition of the first movement proceeds as one would expect in a sonata movement in major, beginning in C major and closing in G major. I...
Journal Article
Journal of Music Theory (1 April 2006) 50 (1): 103–110.
Published: 01 April 2006
...- tion of a sonata-form movement that moves to the dominant key in the second half of the exposition, and then returns briefly to the tonic key before moving on to other keys in the development; Beethoven’s Sonata op. 10, no. 3, first movement, is one well-known example. To represent this...
Journal Article
Journal of Music Theory (1 October 2009) 53 (2): 191–226.
Published: 01 October 2009
Journal Article
Journal of Music Theory (1 April 2009) 53 (1): 1–56.
Published: 01 April 2009
... excerpts from the exposition of this movement, each of which exhibits one of the four meters listed above.8 (c) Ł Ł Ł murphy_02d (section) /home/jobs...