... understanding just what Kurth means by form . This article proposes that his final publication, Musikpsychologie (1931), offers the greatest source of elucidation, and it focuses on a central topic in Musikpsychologie : musical listening as active and participatory. The article begins by outlining two...

... connections between schematic skeletons and statistical learning research. Finally, it offers an analytical application to the opening phrase of Mozart’s aria “Dies Bildnis ist bezaubernd schön,” which is briefly compared to Niccolò Piccinni’s “Una povera ragazza.” Copyright © 2018 by Yale University 2018...

... appeared first in the eleventh century. Detailed analysis and comparison of the music (and theory) of Hermannus Contractus (1013-1054) with Hildegard's demonstrates a shared emphasis on Hermannus's modal nodes of final, fifth, and octave. Further analyses of antiphons from the later Middle Ages for Saints...

... in pitch-class space , a more fine-grained alternative that specifies how one pitch class moves to another. Section 3 argues that group theory alone cannot represent the intuition that intervals have quantifiable sizes, proposing an extension to Lewin's formalism that accomplishes this goal. Finally...

... scales from functional harmony. After defining “absolute color” in the context of Gluck’s orchestration, Ernst Kurth demonstrates how “absolute” wind instrument colors delineate “absolute” “destructive” harmonic colors in Wagner’s Tristan instrumentation. Finally, Arnold Schoenberg’s functional...

... Bellini of tonal pairing, usually (but not always) involving relative keys. The sonorità or focal melodic pitch, long associated with Verdi’s operas, is found to play a unifying role in the second-act finale of Norma . Issues of reception history, text criticism, and analytical methodology are also...

... sonata forms on a case-by-case basis with the same urgency as with his classical precursors. Even in a two-part exposition like that of the finale of the Piano Trio in F major, Schumann finds effective means to merge classical conventions with dialectical tonal strategies. I am grateful to James...

... article then reveals a fundamental trait prevalent in many of Shostakovich's aggregate melodies: they often convey distinct zones of chromatic activity, diatonic activity, or a mixture of both. Drawing on these terms and concepts, the final part of the article probes the second movement of the Twelfth...

...-dominant chords at cadences (yielding tonic–pre-dominant–dominant–tonic syntax) more regularly than his models do. Finally, in the rare instances that he chooses models without periodic phrase structure, Morley introduces periodicity. Morley's recompositions contribute to the tonal sound that, historically...

... tonality and dissonance in more detail, with particular emphasis on his idea that dissonant prolongations are based on tonicizable but nontonic triads; by examining a number of extended, if partial, precedents for such prolongations in his final publication, Der freie Satz ; and by supporting the article's...

... the Boethian ars musica that constitutes the point of departure for the treatise. The investigation unfolds in three phases: (1) a review of Musica’s final section that calls attention to puzzling and idio- syncratic features of Hucbald’s comments regarding mode, (2) problematic aspects of...

... things past. The melody and tonality of “Das alte Jahr” are among the most curious in the chorale repertoire. Beginning on A minor, the music moves strongly to D minor at several spots. One naturally considers this to be a dominant- tonic relationship in D minor, but the final phrase leads to...

... unfolding of the twelve-tone aggregate, and that these fields usually coin- cide with units of structure conforming to those described in eighteenth- century theories of periodicity and form. In these unfoldings, the moment that the final element of the chromatic aggregate occurs is usually syn...

... certain musicians call diastema, systema, and teleusis. Now diastema . . . occurs when the chant makes a suitable pause, not on the final but elsewhere; systema . . . [occurs] whenever a suitable pause in the melody comes on the final; and teleusis is the end of the chant. (Babb and...

.... In my view, there is one overriding reason for making a structural dis- tinction between the keys in a two-key scheme: the final key (or, better, the final tonic) must be primary in order for the work to sound conclu- sive. To be sure, there do exist pieces that might be thought of as being in...

... the arpeggiation of the final one that challenges our most basic under- standing of how harmonies are prolonged in tonal music. This article examines the prolongational issues involved in this type of downward triadic arpeggiation. The first section seeks...

... the final movement—from Stefan George’s translation of Baudelaire’s sonnet “De profundis cla- mavi”—decisively changed Berg’s biography and lead to the view that the composer’s twelve-tone music is a personal chronicle of a tragic love story, indicated by pitch, rhythmic, tempo, and formal events...

... P6. The cadences of the phrases give at least provisional support for this view David Temperley    Key Structure in “Das alte Jahr vergangen ist” 107 as well: examining just the final harmony of each phrase, we find a pattern of d / d / A / d / A / E. (All of these are authentic...

...) classed the G minor and A major Piano Quartets and the F minor Piano Quintet as being of higher quality, and he refers to op. 60 as frosty (1879, 222). Even Brahms’s sup- porters had doubts about the work and Florence May was particularly critical of the finale, saying: “its themes are lacking in...

... the final section, where ecstatic ornamentation will bring the music to a satisfying conclusion. Early versions of this material were presented at the 2007 annual meeting of the Society for Music Theory (Baltimore), Florida State University, the University of Connecticut, and the University of...