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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 (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 (2002) 46 (1-2): 364–368.
Published: 01 October 2002
... the notes of both the major 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...
Journal Article
Journal of Music Theory (2012) 56 (1): 53–86.
Published: 01 April 2012
... 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...
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 of an...
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 of...
Journal Article
Journal of Music Theory (2017) 61 (1): 29–57.
Published: 01 April 2017
... 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 are...
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. This...
Journal Article
Journal of Music Theory (2019) 63 (2): 209–229.
Published: 01 October 2019
... of painting a more complete and analytically adequate picture of actual practices. Its goals are, first, to give an idea of the range of strategies available to composers of the eighteenth and nineteenth centuries and, second, to show how familiarity with these strategies can open a space for new...
Journal Article
Journal of Music Theory (2020) 64 (2): 203–240.
Published: 01 October 2020
... Moortele and such like-minded theorists as Horton and Wingfield. Examination of Horton’s recent analysis of Brahms’s First Symphony reveals the unacknowledged presence of classical norms casting a “negative” light—although an essential and beneficial one—on his presumably “positive” methodology. A corpus...
Journal Article
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
Journal of Music Theory (2008) 52 (2): 251–272.
Published: 01 October 2008
... quantify similarity of interval content. The first section of the article shows how to find the minimal voice leading between chord types or set-classes. The second uses voice leading to approximate the results of Quinn's Fourier-based method. The third section explains how this is possible, while the...
Includes: Supplementary data
Journal Article
Journal of Music Theory (2010) 54 (2): 143–177.
Published: 01 October 2010
..., semiregular, faithful, and diagonal cases, among others. Three general situations arise: First, the commuting group for a group with an action that is merely transitive is isomorphic to the normalizer of a point stabilizer modulo the point stabilizer. Second, the commuting group for a diagonal subgroup of a...
Journal Article
Journal of Music Theory (2012) 56 (2): 121–167.
Published: 01 October 2012
...: First, Rameau revised his account of supposition continually. Second, the impetus for these revisions was, in many cases, the intervention of a prominent critic. Third, these critics did not, as has been claimed, misunderstand Rameau’s account of supposition; rather, they disputed it (the second...
Journal Article
Journal of Music Theory (2011) 55 (2): 221–251.
Published: 01 October 2011
...Patrick Wood Uribe It is to A. B. Marx that we owe the first extended discussion of sonata form and a conception of it that has survived in classrooms and rehearsal halls to this day. At the same time, Marx’s Sonatenform and his treatment of it are beset with what seem to be serious flaws, chief...
Journal Article
Journal of Music Theory (2013) 57 (2): 245–286.
Published: 01 October 2013
... provocatively—on twenty-first-century music theory. Leonhard Euler’s Unfinished Theory of Rhythm Roger Mathew Grant Abstract The music-theoretical formulations of the early modern mathematician Leonhard Euler (1707–83) are...
Journal Article
Journal of Music Theory (2014) 58 (1): 25–56.
Published: 01 April 2014
... comparison between Roesner’s interpretation of the outer movements of the String Quartet in A minor as examples of deficient two-part expositions and readings of them instead as instances of the continuous type. The first movement of the Second Symphony illustrates that the tonal pairing of the A-minor...
Journal Article
Journal of Music Theory (2015) 59 (2): 191–234.
Published: 01 October 2015
... String Quartet and the first movement of the Sonata for Violin and Piano, showing how we can relate Shostakovich's aggregate melodies to their musical surroundings in a deeper and more detailed way. Stephen C. Brown is associate professor of music theory and coordinator of music theory and...
Journal Article
Journal of Music Theory (2015) 59 (1): 63–97.
Published: 01 April 2015
...Ellen Bakulina This article offers a Schenkerian interpretation of movement 12 from Sergei Rachmaninoff’s All-Night Vigil , also known as Vespers , op. 37 (1915), from the standpoint of tonal duality, known in Russian as peremennost’ , or mutability. First, I explore theoretical connections between...