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Journal Article
Chromaticism, Form, and Expression in Haydn's String Quartet Op. 76, No. 6
Available to Purchase
Journal of Music Theory (2003) 47 (1): 41–101.
Published: 01 April 2003
... and Haydn's Operas.” In Joseph Haydn: Bericht über den Internationalen Joseph Haydn Kongress, Wien, Hofburg , 5.-12 . September 1982. Munich: G. Henle Verlag, 91 -100. CHROMATICISM, FORM, AND
EXPRESSION IN HAYDN’S STRING
QUARTET OP. 76, NO. 6...
Journal Article
Form, Structure, and Musical Drama in Two Mozart Expositions
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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
Generalized Musical Intervals and Transformations; Musical Form and Transformation: Four Analytic Essays; Studies in Music with Text
Available to Purchase
Journal of Music Theory (2006) 50 (1): 111–127.
Published: 01 April 2006
...Steven Rings David Lewin Generalized Musical Intervals and Transformations Oxford University Press, 2007: xxxi+258 pp. ($49.95 cloth); David Lewin Musical Form and Transformation: Four Analytic Essays Oxford University Press, 2007: xiv+168 pp. ($45.00 cloth); David Lewin Studies...
View articletitled, Generalized Musical Intervals and Transformations; Musical <span class="search-highlight">Form</span> and Transformation: Four Analytic Essays; Studies in Music with Text
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Journal Article
In the Process of Becoming: Analytical and Philosophical Perspectives on Form in Early Nineteenth-Century Music
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Journal of Music Theory (2013) 57 (1): 151–158.
Published: 01 April 2013
..., Design and Rhetoric appeared in 2010. Schmalfeldt Janet In the Process of Becoming: Analytical and Philosophical Perspectives on Form in Early Nineteenth-Century Music . Oxford University Press , 2011 : xi+333 pp. ( $49.95 cloth ) © 2013 by Yale University 2013 Works Cited...
View articletitled, In the Process of Becoming: Analytical and Philosophical Perspectives on <span class="search-highlight">Form</span> in Early Nineteenth-Century Music
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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
...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...
View articletitled, “As <span class="search-highlight">Forming</span> Becomes <span class="search-highlight">Form</span>”: Listening, Analogizing, and Analysis in Kurth's Bruckner and Musikpsychologie
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for article titled, “As <span class="search-highlight">Forming</span> Becomes <span class="search-highlight">Form</span>”: Listening, Analogizing, and Analysis in Kurth's Bruckner and Musikpsychologie
Journal Article
Interactions between Harmony and Form in a Corpus of Rock Music
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Journal of Music Theory (2017) 61 (2): 143–170.
Published: 01 October 2017
...Trevor de Clercq In this article I present empirical work that investigates what, if any, harmonic characteristics are found to typically associate with standard form categories in rock music. Specifically, I use statistical analysis to compare and contrast the harmonic traits of verse, chorus...
Journal Article
Dvořák and Subordinate Theme Closure: “Positive” Analytic Results for a “Negative” Approach to Romantic Form
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Journal of Music Theory (2020) 64 (2): 203–240.
Published: 01 October 2020
...Peter H. Smith Form theorists have shown increasing interest in applying the methodologies of Caplin and of Hepokoski and Darcy to sonata forms of the nineteenth century. Many of these efforts proceed under the assumption that late eighteenth-century norms continued to influence Romantic sonata...
View articletitled, Dvořák and Subordinate Theme Closure: “Positive” Analytic Results for a “Negative” Approach to Romantic <span class="search-highlight">Form</span>
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Journal Article
Schubert's Innovations in Sonata Form: Compositional Logic and Structural Interpretation
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Journal of Music Theory (2001) 45 (1): 119–143.
Published: 01 April 2001
...Gordon Sly 2001 © Yale University, New Haven, Connecticut 06520 2001 SCHUBERT’S INNOVATIONS
IN SONATA FORM:
COMPOSITIONAL LOGIC AND
STRUCTURAL INTERPRETATION*
Gordon Sly
In his 1927 monograph “Franz Schubert,” Donald...
View articletitled, Schubert's Innovations in Sonata <span class="search-highlight">Form</span>: Compositional Logic and Structural Interpretation
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for article titled, Schubert's Innovations in Sonata <span class="search-highlight">Form</span>: Compositional Logic and Structural Interpretation
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in Feeling Meter: Kinesthetic Knowledge and the Case of Recent Progressive Metal
> Journal of Music Theory
Published: 01 October 2021
Example 16. Form of the passage from “The Brain Dance,” by Animals as Leaders.
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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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Journal Article
Form as Harmony in Rock Music
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Journal of Music Theory (2023) 67 (1): 199–206.
Published: 01 April 2023
... . The Musical Language of Rock . New York : Oxford University Press . [email protected] Drew Nobile . Form as Harmony in Rock Music . Oxford University Press , 2020 : 292 pp. ( $110.00 hardcover). Copyright © 2023 by Yale University 2023 DREW NOBILE'S FORM as Harmony...
Journal Article
Sweet Thing: The History and Musical Structure of a Shared American Vernacular Form
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Journal of Music Theory (2023) 67 (2): 333–338.
Published: 01 October 2023
...Joti Rockwell [email protected] Nicholas Stoia . Sweet Thing: The History and Musical Structure of a Shared American Vernacular Form . Oxford University Press , 2021 . Copyright © 2023 by Yale University 2023 you've heard this sort of thing before. You've heard...
Journal Article
The Transformation of Prewar Blues into Postwar Rhythm and Blues: The Great Migration, Urbanization, and Form
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Journal of Music Theory (2023) 67 (2): 285–331.
Published: 01 October 2023
..., though, are the many new formal approaches that mark the new style: the urban environment engendered a corresponding creative explosion of new variants on the traditional twelve-bar form, many of them characterized by faster textual pacing, greater phrase-rhythmic density, and elaborate stylization...
FIGURES
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View articletitled, The Transformation of Prewar Blues into Postwar Rhythm and Blues: The Great Migration, Urbanization, and <span class="search-highlight">Form</span>
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Ruth Brown, “It's All for You” (1951). ABB´ poetic form and 7,6,5 phrase rh...
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in The Transformation of Prewar Blues into Postwar Rhythm and Blues: The Great Migration, Urbanization, and Form
> Journal of Music Theory
Published: 01 October 2023
Example 6. Ruth Brown, “It's All for You” (1951). ABB´ poetic form and 7,6,5 phrase rhythm, with interior rhymes in the A line (underlined) and refrain fragments, labeled r, in the B lines. (a) Third verse (1:14). (b) Second verse (0:37).
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Ray Charles, “Lonely Avenue” (1956, by Doc Pomus). AB/R(CD/EFr) poetic form...
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in The Transformation of Prewar Blues into Postwar Rhythm and Blues: The Great Migration, Urbanization, and Form
> Journal of Music Theory
Published: 01 October 2023
Example 15. Ray Charles, “Lonely Avenue” (1956, by Doc Pomus). AB/R(CD/EFr) poetic form and 8,8,6 phrase rhythm. The “Caldonia”-like opening is transposed to the second phrase and the vocal responses fuse with the caesuras.
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Chuck Berry, “School Day” (1957). AB/CD/EF poetic form with lines spanning ...
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in The Transformation of Prewar Blues into Postwar Rhythm and Blues: The Great Migration, Urbanization, and Form
> Journal of Music Theory
Published: 01 October 2023
Example 18. Chuck Berry, “School Day” (1957). AB/CD/EF poetic form with lines spanning a weak upbeat position and the following strong downbeat position. On the level of the beat the lines stretch across beats 2, 3, 4, and 1 in every weak-strong pair and the instrumental responses have the same
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Chuck Berry, “Johnny B. Goode” (1958). AB/CD/EF poetic form and 8,8,8 phras...
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in The Transformation of Prewar Blues into Postwar Rhythm and Blues: The Great Migration, Urbanization, and Form
> Journal of Music Theory
Published: 01 October 2023
Example 19. Chuck Berry, “Johnny B. Goode” (1958). AB/CD/EF poetic form and 8,8,8 phrase rhythm.
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Ray Charles, “Greenbacks” (1957, by Renald Richard). Twenty-bar form with A...
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in The Transformation of Prewar Blues into Postwar Rhythm and Blues: The Great Migration, Urbanization, and Form
> Journal of Music Theory
Published: 01 October 2023
Example 21. Ray Charles, “Greenbacks” (1957, by Renald Richard). Twenty-bar form with AB/CD/EF/R(G/H) poetic form and 8,8,8,5,5 phrase rhythm.
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Transformation of the standard form into the “Caldonia” and “Payday” types....
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in The Transformation of Prewar Blues into Postwar Rhythm and Blues: The Great Migration, Urbanization, and Form
> Journal of Music Theory
Published: 01 October 2023
Figure 5. Transformation of the standard form into the “Caldonia” and “Payday” types.
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Hypothetical versions of “300 Pounds of Joy” as (a) standard form and (b) “...
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in The Transformation of Prewar Blues into Postwar Rhythm and Blues: The Great Migration, Urbanization, and Form
> Journal of Music Theory
Published: 01 October 2023
Example 32. Hypothetical versions of “300 Pounds of Joy” as (a) standard form and (b) “Caldonia” type.
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