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![Figure 10. The two twelve-tone chords that combine [0369] partitions in the song (climatic passage and final chord) and other “whole-tone” dyad tetrachords.](https://dup.silverchair-cdn.com/dup/Content_public/Journal/journal-of-music-theory/67/2/10.1215_00222909-10699703/2/s_jmt10699703figure10.png?Expires=2147483647&Signature=emGDz424PJ9d6OHd1petXnY7yNahNnQwTx1U6NP1xzL7Ir1OezG6wq7WtWq-fy4gnFc-AFQMp6gLwr3cpRlQlEt7XnVmpSKS4YL631ZwxI9qPBH8C9PmvLXXzOqaFg02gahdEqqugS4Nz6FhODgS93jM33MjXa6QaDZgwU81nbhFSGdsKIezqyM0ULI5zNH4Qf9XJ7JvZ59LC~5Er02E~Qbw39j87R0GdiGblXfItrTRHdi0yiX6LXc5cwbDr1ti566K7MDfcDQslFgPtfYHQs0-SEdol~Lgoi7ep8LnFVtlkH2za~~qkS2W2uqQSlDS~bUwlXJ9QBL3xKWnz6idAQ__&Key-Pair-Id=APKAIE5G5CRDK6RD3PGA)
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in Periodicity-Based Descriptions of Rhythms and Steve Reich's Rhythmic Style
> Journal of Music Theory
Published: 01 October 2021
Figure 9. The basic material of the final version of Piano Phase .
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in Danses Fantastiques : Metrical Dissonance in the Ballet Music of P. I. Tchaikovsky
> Journal of Music Theory
Published: 01 April 2021
Example 3. Tchaikovsky, Sleeping Beauty , prologue, no. 4 scène final , mm. 1–4. (a) Latent and active dissonance. (b) Beginning-oriented hearing of dissonant 2-layer. (c) End-oriented hearing of dissonant 2-layer.
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in Danses Fantastiques : Metrical Dissonance in the Ballet Music of P. I. Tchaikovsky
> Journal of Music Theory
Published: 01 April 2021
Example 4. Tchaikovsky, Sleeping Beauty , prologue, no. 4 scène final , mm. 37–45, Carabosse paraît
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in Danses Fantastiques : Metrical Dissonance in the Ballet Music of P. I. Tchaikovsky
> Journal of Music Theory
Published: 01 April 2021
Example 9. Main waltz theme, transformed in the final presto . Tchaikovsky, Nutcracker , act 1, no. 9, Waltz of the Snowflakes, mm. 265–74.
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Navigating clave flips in the final sections of Grupo Niche's “Cali pachang...
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in Flipped, Broken, and Paused Clave : Dancing through Metric Ambiguities in Salsa Music
> Journal of Music Theory
Published: 01 April 2021
Example 8. Navigating clave flips in the final sections of Grupo Niche's “Cali pachanguero” (transcription from Simpson-Litke 2014 ).
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Form in the Finale of Shostakovich's Symphony No. 4, as schematized by Bobr...
Available to PurchasePublished: 01 October 2022
Figure 1. Form in the Finale of Shostakovich's Symphony No. 4, as schematized by Bobrovsky 1990: 203 (all parenthetical labels are mine, but based on Bobrovsky's discussion on 199–204).
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in The Serenade Topic, the Serenade Construction, and the Creation of Amorous Sweetness in Ottocento Opera
> Journal of Music Theory
Published: 01 April 2024
Example 3. Donizetti, Lucia di Lammermoor , act 2 finale, “Chi mi frena in tal momento,” reh. 40.
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in The Serenade Topic, the Serenade Construction, and the Creation of Amorous Sweetness in Ottocento Opera
> Journal of Music Theory
Published: 01 April 2024
Example 3. Donizetti, Lucia di Lammermoor , act 2 finale, “Chi mi frena in tal momento,” reh. 40.
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in Periodicity-Based Descriptions of Rhythms and Steve Reich's Rhythmic Style
> Journal of Music Theory
Published: 01 October 2021
Figure 25. The initial ostinato for Variations as it appears in an early sketch (a) and in the final version (b).
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The two twelve-tone chords that combine [0369] partitions in the song (clim...
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in Lutosławski's Mid-Century Harmony: Reconceptualizing Chordal Space in the Five Iłłakowicz Songs
> Journal of Music Theory
Published: 01 October 2023
Figure 10. The two twelve-tone chords that combine [0369] partitions in the song (climatic passage and final chord) and other “whole-tone” dyad tetrachords.
More
Journal Article
“As Forming Becomes Form”: Listening, Analogizing, and Analysis in Kurth's Bruckner and Musikpsychologie
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Journal of Music Theory (2017) 61 (1): 1–28.
Published: 01 April 2017
..., is 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...
Journal Article
Feinting Repeats, Repeating Feints: The Developmental “Double Return” in Brahms and Sonata Theory Typology
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Journal of Music Theory (2023) 67 (1): 71–98.
Published: 01 April 2023
...Benedict Taylor Abstract One of the most prominent characteristics of Johannes Brahms's approach to sonata form is the return to the tonic at the start of the second section (or “rotation”) for a restatement of the exposition's primary theme. Well-known examples include the finales of the First...
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Journal Article
What Do Signatures Signify?: The Curious Case of Seventeenth-Century English Key
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Journal of Music Theory (2020) 64 (2): 147–201.
Published: 01 October 2020
... of the century, composers and theorists used ad hoc and asymmetrical strategies ♭ to create new keys. Composers explored new flat keys through the process of signature creep, while theorists devised new sharp keys when they identified the parallel key relationship. Finally, theoretical interventions at the end...
Journal Article
Gjerdingen’s Schemata Reexamined
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Journal of Music Theory (2018) 62 (1): 41–84.
Published: 01 April 2018
... on 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...
Journal Article
Generic (Mod-7) Voice-Leading Spaces
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Journal of Music Theory (2019) 63 (2): 167–207.
Published: 01 October 2019
... -, and OP -spaces of two- and three-note chords. The final section of the study shows that, although the discrete mod-7 versions of these lattices appear quite different from their continuous mod-12 counterparts, the topological space underlying each of these graphs depends solely on the number of notes...
Journal Article
Hildegard, Hermannus, and Late Chant Style
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Journal of Music Theory (2008) 52 (1): 123–149.
Published: 01 April 2008
... 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...
Journal Article
Generalizing Musical Intervals
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Journal of Music Theory (2009) 53 (2): 227–254.
Published: 01 October 2009
... 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...
Journal Article
Absolute Color, Fluctuating Mischfarben , and Structurally Functional “Gypsy” Orchestration
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Journal of Music Theory (2013) 57 (2): 193–243.
Published: 01 October 2013
... 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...
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Tonal Structures in Bellini
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Journal of Music Theory (2012) 56 (2): 225–283.
Published: 01 October 2012
... in 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...
Journal Article
Schumann’s Continuous Expositions and the Classical Tradition
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Journal of Music Theory (2014) 58 (1): 25–56.
Published: 01 April 2014
... 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...
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