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Journal Article
Journal of Music Theory (2013) 57 (1): 1–45.
Published: 01 April 2013
...Eric Drott This article presents a critique of the commonplace trope that holds genre to have declined in relevance under modernism. Contrary to the widespread notion that composers’ repudiation of received tradition rendered the very idea of genre categories obsolete, this article argues...
Journal Article
Journal of Music Theory (2008) 52 (1): 75–122.
Published: 01 April 2008
... courtois , now a common label for “high-style” songs. Other literary scholars, notably Paul Zumthor and Pierre Bec, have discussed problems in classifying styles and genres. References to genres in medieval texts are ambiguous, and manuscripts rarely group songs by genre. Theorists such as Raimon Vidal...
Journal Article
Journal of Music Theory (2016) 60 (1): 51–88.
Published: 01 April 2016
... circles of Schumann's large-scale instrumental forms, and the tendency for concerto form to attract less interest among theorists compared to other instrumental genres. Historical grounding for the analysis arises from the value Schumann and members of his circle placed on musical close reading...
Journal Article
Journal of Music Theory (2008) 52 (1): 41–74.
Published: 01 April 2008
... and musical writings have barely figured in the study of the Renaissance dialogue, yet these works offer specific insights about the nature of the genre. In addition to Morley's treatise, works discussed in detail include Anton Francesco Doni's Dialogo della musica (1544), Gioseffo Zarlino's Dimostrationi...
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 (2021) 65 (2): 287–323.
Published: 01 October 2021
... formal types were compatible with Wagner's Gesamtkunstwerk aesthetic, and the analytic method suggests a path toward further engagement with other nineteenth-century opera and other genres that combine music, text, and dramatic storytelling. In this article I demonstrate Wagner's continued use of one...
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Journal Article
Journal of Music Theory 9930889.
Published: 08 September 2022
... vïrazheniya (means of express ion), vïrazitel no-smïslovïye kompleksï (express ion-signif icat ion complexes or express ive-semantic complexes), intonatsii (intonations), zhanrï (genres), stili (styles), tipï (types), tipï vïrazitel nosti (types of expressivity or expression types), obrazï...
Journal Article
Journal of Music Theory (2021) 65 (1): 17–38.
Published: 01 April 2021
... between music and dance in an actual performance but also to the music culture and tradition underlying the genre in question. The multimodal experience of this music for a music-cultural insider, however, encompasses (1) specific relationships between the sound features and one's embodied knowledge...
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Journal Article
Journal of Music Theory (2000) 44 (2): 495–498.
Published: 01 October 2000
... of a multisectional
suite by Yes. It not only situates the song and the group within a larger
sociocultural context (see also Edward Macan’s Rocking the Classics,
also published by Oxford, for a thorough study of the progressive rock
genre), but also explores how “Close to the Edge” draws upon art-music
elements...
Journal Article
Journal of Music Theory (2013) 57 (2): 419–431.
Published: 01 October 2013
..., and viewpoints of interest to special-
ists and cite much of the extensive literature that has accumulated around
each genre.
Journal of Music Theory 57:2, Fall 2013
DOI 10.1215/00222909-2323524 © 2013 by Yale University 419
420 JOURNAL of MUSIC THEORY
1...
Journal Article
Journal of Music Theory (2013) 57 (2): 383–418.
Published: 01 October 2013
... Theory to Historical Context .” Ph.D. diss. , Yale University . ———. 1995 . “ Form, Genre, and Style in the Eighteenth-Century Rondo .” Music Theory Spectrum 17/1 : 27 – 52 . ———. 1999 . “ Formenlehre Revived .” Intégral 13 : 143 – 200 . ———. 2008 . Some Eighteenth-Century...
Journal Article
Journal of Music Theory 9930974.
Published: 08 September 2022
..., is normative. It is concerned with disc ove ring and describing those attrib utes of a comp osit ion which are comm on to a group of works usua lly ones which are similar in style, form, or genre. In contrast, critic al analys is seeks to understand and explain what is idios yncratic...
Journal Article
Journal of Music Theory (2005) 49 (1): 141–180.
Published: 01 April 2005
... of Musicology, 1967. ———. 1728 . “ Remarques sur les pièces de ce livre, & sur les différens genres de musique. ” Preface to Pièces de clavecin: Nouvelles suites. Reprint. New York: Broude, 1967. ———. 1737 . Génération harmonique . Reprinted in Jean Philippe Rameau: Complete Theoretical...
Journal Article
Journal of Music Theory (2021) 65 (2): 375–386.
Published: 01 October 2021
... of the late twentieth century, including a range of related genres such as soul, disco, and metal (5–6) 2 but explicitly excluding hip-hop, because of its perceived lack of melody (255), and country, because everyone else excludes it (256). He asserts that his adoption of terms and concepts from art music...
Journal Article
Journal of Music Theory (2011) 55 (2): 253–264.
Published: 01 October 2011
... evolved from a folk genre into an art-music
genre—that is, as a high-art consciousness emerged gradually out of the orig-
inary Volkstümlichkeit—irregularities multiplied, in both poem and music,
and they became expressive devices in themselves, in the separate...
Journal Article
Journal of Music Theory (2003) 47 (1): 215–222.
Published: 01 April 2003
... of the diatonic genre. Since he includes the
“Phrygian” second degree as part of mixture, Schenker’s mixed genre—
his major/minor system—includes no fewer than eleven pitches per
octave. These are pitches, not pitch classes: C-sharp and D-flat are not the
same thing (Hyer understands this).3 Schenker takes...
Journal Article
Journal of Music Theory (2009) 53 (1): 137–162.
Published: 01 April 2009
... metrical approaches in bluegrass music, relat-
ing this interaction to the idea of “drive” that is widely used to characterize
the genre. This study ultimately suggests some specific ways of accounting
for bluegrass banjo music’s distinctively...
Journal Article
Journal of Music Theory (2006) 50 (1): 128–139.
Published: 01 April 2006
...
be cited, and discussing even a few of them would certainly swell this review
immoderately. Instead, I offer a brief description of the analytic genres in
which Taruskin composes. The analysis of the Bach toccata is based on the
“technical” type...
Journal Article
Journal of Music Theory (2013) 57 (2): 373–381.
Published: 01 October 2013
...
“saltus” (a “leap”) to describe intervals, along with the adverbs “potenter” (or
“viriliter”) and “debiliter” to distinguish major and minor genres, respec-
tively. Thus. we can read a definition of the ditone (major third) in TH II (3,
85), a text now in the British Library and long known...
Journal Article
Journal of Music Theory (2001) 45 (2): 470–483.
Published: 01 October 2001
... or pretentiousness, as
is still too often the case today.”
“[W]e should not only acknowledge but investigate the differences
between individual idioms, between genres, and between histori-
cal periods.”8
Rothstein’s five proposals—pursue outreach, communicate engag-
ingly, abandon scientism...
