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Journal Article
Journal of Music Theory (2001) 45 (1): 1–29.
Published: 01 April 2001
...David Lewin 2001 © Yale University, New Haven, Connecticut 06520 2001 SPECIAL CASES OF THE INTERVAL FUNCTION BETWEEN PITCH-CLASS SETS X AND Y David Lewin 1. Pcset pairs <X,Y> for which IFUNC(X,Y) is constant 1.1.1 Example...
Journal Article
Journal of Music Theory (2016) 60 (2): 149–180.
Published: 01 October 2016
...Drew Nobile In this article, I advocate for a syntactical definition of harmonic function in rock music such that function is acquired not by a chord's scale-degree content but by its role in the context of a song's form. In rock songs, the syntactical role of dominant, for example, is often played...
Journal Article
Journal of Music Theory (2005) 49 (2): 333–357.
Published: 01 October 2005
..., Bartók, and Ravel.” Ph.D. diss., University of Chicago. MODES, SCALES, FUNCTIONAL ­HARMONY, AND NONFUNCTIONAL HARMONY IN THE COMPOSITIONS OF HERBIE HANCOCK Keith Waters The decade of the 1960s witnessed a vast expansion...
Journal Article
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...
Journal Article
Journal of Music Theory (2006) 50 (2): 211–251.
Published: 01 October 2006
... parenthetical in modern music theory discourse. Despite the connotations this neglect implies, the cadenza tradition stands as one endowed with great musical richness, worthy of further analytic investigation. This article seeks to define the dual function of the cadenza. Specifically, the cadenza is heard...
Journal Article
Journal of Music Theory (2006) 50 (2): 143–179.
Published: 01 October 2006
...Peter H. Smith Associative harmony functions as a powerful resource through which Schubert and Brahms fashion continuities within the dialectic of articulation and continuity that stands at the heart of the Viennese sonata style. More specifically, the technique of harmonic cross-reference provides...
Journal Article
Journal of Music Theory (2007) 51 (2): 245–276.
Published: 01 October 2007
...Elizabeth Hellmuth Margulis This article explores the functions of silence in common-practice music, with an emphasis on the characteristics of perceived silence as distinct from notated and acoustic silence. Context is shown to guide listening in complex ways that enable the same acoustic silence...
Journal Article
Journal of Music Theory (2020) 64 (2): 203–240.
Published: 01 October 2020
..., such as form-functional contrast among P, S, C, and coda; characteristics that signal end-of-the-beginning versus end-of-the-end functions for cadences; the interaction of tonal pairing and formal design; and Dvořák’s recapitulatory reinterpretations of his expositional strategies. The analyses illustrate...
Journal Article
Journal of Music Theory (2009) 53 (1): 95–136.
Published: 01 April 2009
... interpretation of musical narratives must be invested in the semantic level (topics, codes, conventions, genres) as well as the syntactic one (harmony, voice leading). The four archetypes function as structures of the musical text and as master signifiers that the listener uses to organize an interpretation...
Journal Article
Journal of Music Theory (2010) 54 (1): 75–90.
Published: 01 April 2010
... importance to modernist art. It functions as a metaphor in se , representing Cavell's hypothetical example of a solution to a compositional problem that “has become identical with the aesthetic result itself.” Lachenmann's Kontrakadenz (1970–71) concerns itself with the strained relation of artwork...
Journal Article
Journal of Music Theory (2007) 51 (1): 5–49.
Published: 01 April 2007
... Rameau, he, too, developed an overarching explanatory model of harmony that involves coherent concepts of harmonic functionality and chord morphology. Heinichen's and Rameau's “systems,” however, rest on opposing assumptions. However many speculative aspects it may embrace, Heinichen's music theory...
Journal Article
Journal of Music Theory (2017) 61 (2): 171–200.
Published: 01 October 2017
... of the two halves of two-part form. Drawing on a corpus of more than seven hundred instrumental works dated 1650–1770, I demonstrate that these two practices arose and functioned independently from each other, increasing in frequency and in length, before being subsumed into an overarching rotational...
Journal Article
Journal of Music Theory (2017) 61 (2): 201–242.
Published: 01 October 2017
..., beyond elucidating aspects of structural organization that have been overlooked in his music, the article suggests ways of formally defining aspects of his style. What this study adds to our understanding of Boulez’s music from this period is a theoretical framework that explains the functional role...
Journal Article
Journal of Music Theory (2018) 62 (1): 41–84.
Published: 01 April 2018
... a learned model or historical schema. When galant schemata are reconstructed as responses to input from the Rule of the Octave, top-down constraints are revealed. These constraints limit the choice of local soprano strings, relating the schemata to aspects of formal function. The article also speculates...
Journal Article
Journal of Music Theory (2018) 62 (1): 85–118.
Published: 01 April 2018
... is a complex and multifaceted phenomenon, a feature true especially of Sibelius’s later compositions. Sibelius’s tonal practice in Tapiola is based neither on first-practice functional harmony nor on second-practice triadic chromaticism but rather on the use of distinct scale collections and their interaction...
Journal Article
Journal of Music Theory (2019) 63 (1): 1–34.
Published: 01 April 2019
..., modality, chord succession, and harmonic function. In demonstrating these concepts, four categories of tonicization are illustrated: primary diatonic , in which a tonicization employs only diatonic chords of the mode; primary chromatic , which occurs due to chromatic inflection or modal borrowing...
Journal Article
Journal of Music Theory (2019) 63 (1): 103–138.
Published: 01 April 2019
... Hepokoski and Darcy’s sonata theory, Caplin’s theory of formal functions, and Schenkerian concepts of tonal content argue in favor of a type 2 interpretation of nineteenth-century manifestations. The analyses presented demonstrate some of the ways these theories may prove mutually reinforcing, even when...
Journal Article
Journal of Music Theory (2020) 64 (2): 147–201.
Published: 01 October 2020
... keys—all of the modern major and minor keys with up to four signature accidentals. But the route from eight to eighteen keys was not straightforward. This article traces this route by examining how the function of signature flats and sharps changed in seventeenth-century England. At the beginning...
Journal Article
Journal of Music Theory (2009) 53 (1): 57–94.
Published: 01 April 2009
... of metrical dissonance but is also informed by William Caplin's theory of formal functions, by Robert Philip's categorization scheme for tempo rubato in early recordings, and by research in meter perception and empirical performance analysis. Several addenda to Krebs's taxonomy of metrical consonance...
Includes: Supplementary data
Journal Article
Journal of Music Theory (2021) 65 (2): 287–323.
Published: 01 October 2021
... of this article proposes a conceptual revision of lyric form as a conventional configuration of both music and text, which are united by a shared set of music-rhetorical functions. The second part shows how Wagner's lyric forms integrate into the surrounding dramatic continuity as extroverted, performative...
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