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Published: 01 April 2021
Example 10. The first two dance positions of the first movement and the first two dance positions of the third-movement climax, compared. BWV 1043, mvt. 1, m. 1; mvt. 3, m. 127. More
Journal Article
Journal of Music Theory (2016) 60 (1): 51–88.
Published: 01 April 2016
... . Princeton, NJ : Princeton University Press . Hepokoski James . 2012 . “Monumentality and Formal Processes in the First Movement of Brahms's Piano Concerto no. 1 in D minor, op. 15.” In Expressive Intersections in Brahms: Essays in Analysis and Meaning , ed. Platt Heather Smith Peter H...
Journal Article
Journal of Music Theory (2020) 64 (2): 297–308.
Published: 01 October 2020
...-division/68565 . 297 Journal of Music Theory 64:2, October 2020 DOI 10.1215/00222909-8550831 © 2020 by Yale University Pedagogy into Practice: Teaching Music Theory in the Twenty-First Century. Conference organized and sponsored by the Gail Boyd de Stwolinski Center for Music Theory Pedagogy. Held...
Journal Article
Journal of Music Theory (2002) 46 (1-2): 364–368.
Published: 01 October 2002
... and minor scale into a single chro- matic scale and then places major and minor triads (via mixture) on each degree. (588a) Rothstein’s blatant misquotation changes the meaning of the first sen- tence: “Scale-degree theories,” not Schenker, “accounted for chromati- cism by means of what Schenker...
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Published: 01 April 2021
Example 5. Bach's 4-eighth-pulse accompaniment pattern in the first movement, where it appears in a metrically consonant context (2/2). BWV 1043, mvt. 1, mm. 63–66. More
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Published: 01 April 2021
Image 10. From Playford 1698 . The first bar line in the last system is extraneous. More
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Published: 01 April 2021
Example 1. “Les Spectacles” (La Cuisse, feuille 34), first strain and its expansion at the end of the second strain. More
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Published: 01 April 2021
Example 12. Candite's first step sequence. Tchaikovsky, Sleeping Beauty , prologue, no. 3 pas de six , variation 1, Candite , mm. 1–12. More
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Published: 01 April 2021
Example 13. Miettes's first step sequence. Tchaikovsky, Sleeping Beauty , prologue, no. 3 pas de six , variation 3, Miettes , mm. 1–8. More
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Published: 01 October 2021
Example 38. Idioms where the first note is a non-leading-tone member of an imperfect consonance. More
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Published: 01 October 2021
Figure 4. The rhythms of first two parts of Music for Pieces of Wood (a and b) and a different truncation of the first rhythm (c). More
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Published: 01 April 2022
Example 7. The melody M 1 in the flutes (and first violins), showing the T 2 and T 4 phasing in Reich's Desert Music , iii, rehearsal 122. More
Journal Article
Journal of Music Theory (2012) 56 (1): 53–86.
Published: 01 April 2012
...–A) in the first piano piece. Scholars have noted this revision, acknowledging Brahms’s role as the anonymous editor of these pieces. Yet why Schubert crossed out this entire section in the manuscript remains unanswered. Focusing on the first two Klavierstücke , since both occur within the same manuscript...
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Published: 01 October 2021
of the signature rhythm with the spectrum of interval 6 (orange), the canon in the first part of Music for Pieces of Wood . More
Journal Article
Journal of Music Theory (2007) 51 (1): 137–159.
Published: 01 April 2007
...Rosa Cafiero The tradition of the Neapolitan school of composition (in which the partimento and its teaching techniques played a significant role) had a major influence on musical training in Paris from the second half of the eighteenth century through the first half of the nineteenth century...
Journal Article
Journal of Music Theory (2014) 58 (2): 155–178.
Published: 01 October 2014
...David Temperley A corpus analysis of common-practice themes shows that, when an intervallic pattern is repeated with one changed interval, the changed interval tends to be larger in the second instance of the pattern than in the first; the analysis also shows that the second instance...
Journal Article
Journal of Music Theory (2015) 59 (2): 235–271.
Published: 01 October 2015
...Megan Kaes Long In 1595 Thomas Morley published The First Booke of Balletts , a collection of “Italian madrigals Englished.” Rather than writing English words for unaltered Italian works as his predecessors had done, Morley created original compositions loosely modeled on Italian works. Analysis...
Journal Article
Journal of Music Theory (2017) 61 (1): 29–57.
Published: 01 April 2017
..., there are many examples where the prolonged chord differs from the one being arpeggiated. Many of these involve a downward arpeggiation of a triad from fifth to root that connects two different harmonies. This article examines the prolongational issues involved in this type of arpeggiation. The first section...
Journal Article
Journal of Music Theory (2017) 61 (2): 243–287.
Published: 01 October 2017
...Christopher Segall Numerous late twentieth-century composers grappled with the problem of using triads in non-tonal ways. Alfred Schnittke’s atonal music of 1974–85 offers a solution by relying on three triad-to-triad relations: P (parallel), S (slide), and M (minor third). The first two...
Journal Article
Journal of Music Theory (2022) 66 (1): 1–42.
Published: 01 April 2022
...David E. Cohen Abstract This article explores the advent of two foundational characteristics of the modern concept of harmony inaugurated by Rameau's Traité de l'harmonie (1722): first, that its principal objects are sonorities of three or more distinct pitch classes, that is, consonant...
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