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in Feinting Repeats, Repeating Feints: The Developmental “Double Return” in Brahms and Sonata Theory Typology
> Journal of Music Theory
Published: 01 April 2023
Example 1a. Brahms, Violin Sonata no. 3 in D minor, op. 108, i, start of exposition
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in Feinting Repeats, Repeating Feints: The Developmental “Double Return” in Brahms and Sonata Theory Typology
> Journal of Music Theory
Published: 01 April 2023
Example 2a. Brahms, Violin Sonata no. 1 in G major, op. 78, i, start of exposition
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in Feinting Repeats, Repeating Feints: The Developmental “Double Return” in Brahms and Sonata Theory Typology
> Journal of Music Theory
Published: 01 April 2023
Example 4a. Brahms, Violin Sonata no. 2 in A major, op. 100, i, start of exposition
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in Feinting Repeats, Repeating Feints: The Developmental “Double Return” in Brahms and Sonata Theory Typology
> Journal of Music Theory
Published: 01 April 2023
Example 5a. Brahms, Piano Trio no. 2 in C major, op. 87, i, start of exposition
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in Feinting Repeats, Repeating Feints: The Developmental “Double Return” in Brahms and Sonata Theory Typology
> Journal of Music Theory
Published: 01 April 2023
Example 6a. Brahms, Piano Trio no. 3 in C minor, op. 101, i, start of exposition
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in Feinting Repeats, Repeating Feints: The Developmental “Double Return” in Brahms and Sonata Theory Typology
> Journal of Music Theory
Published: 01 April 2023
Example 7. Brahms, Violin Sonata no. 2 in A major, op. 100, i, end of exposition and start of development
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in Feinting Repeats, Repeating Feints: The Developmental “Double Return” in Brahms and Sonata Theory Typology
> Journal of Music Theory
Published: 01 April 2023
Example 8a. Haydn, Piano Sonata in D major, Hob. XVI:51 (1794), i, start of exposition
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Journal Article
Agency and Information Content in Eighteenth and Early Nineteenth-Century String-Quartet Expositions
Journal of Music Theory (2012) 56 (1): 87–120.
Published: 01 April 2012
... a 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...
Journal Article
Journal of Music Theory (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...
Journal Article
Journal of Music Theory (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 boundary...
Journal Article
Journal of Music Theory (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 (2022) 66 (2): 273–279.
Published: 01 October 2022
...Danuta Mirka [email protected] L. Poundie Burstein . Journeys through Galant Expositions . Oxford University Press , 2020 : xi +295 pp. ( $45.00 cloth, $44.99 e-book). Copyright © 2022 by Yale University 2022 L. POUNDIE BURSTEIN'S Journeys through Galant...
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Published: 01 October 2022
Example 2. Chopin, Fantasy , mm. 127–43, exposition's closing theme: march integrated with chorale.
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Journal Article
Journal of Music Theory (2023) 67 (1): 71–98.
Published: 01 April 2023
...Example 1a. Brahms, Violin Sonata no. 3 in D minor, op. 108, i, start of exposition ...
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Journal Article
Journal of Music Theory (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 hypermeter...
Journal Article
Journal of Music Theory (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...
Journal Article
Journal of Music Theory (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 (2019) 63 (2): 209–229.
Published: 01 October 2019
...) the recapitulation is an exact (or near-exact) restatement of the exposition’s thematic materials, and (2) it takes but one tonal alteration (or “adjustment”) of these materials to make a recapitulation conclude in the key in which it began. This article aims to examine the second of these presuppositions in hopes...
Journal Article
Journal of Music Theory (2020) 64 (2): 203–240.
Published: 01 October 2020
..., such as form-functional contrast among P, S, C, and coda; characteristics that signal end-of-the-beginning versus end-of-the-end functions for cadences; the interaction of tonal pairing and formal design; and Dvořák’s recapitulatory reinterpretations of his expositional strategies. The analyses illustrate...
Journal Article
Journal of Music Theory (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...
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