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Journal Article
Journal of Music Theory (2013) 57 (1): 47–85.
Published: 01 April 2013
...John Paul Ito This article extends existing approaches to hypermeter by introducing schemas that make measure-by-measure correlations between grouping units and hypermeasures. These schemas offer an account of how listeners track hypermeter through irregularities and discontinuities. In order...
Journal Article
Journal of Music Theory (2014) 58 (1): 1–24.
Published: 01 April 2014
... for keyboard. It turns out that the subject of this fugue is so marked in rhythm and contour that it seems to motivate—and even demand—its own transformation as the fugue unfolds. One consequence of such transformation is a series of metric shifts from triple hypermeter during expositions to duple hypermeter...
Journal Article
Journal of Music Theory (2021) 65 (1): 81–106.
Published: 01 April 2021
... and music consistently extended to multiple hypermetric levels. In addressing the importance of contredanse choreography to eighteenth-century hypermeter, this article makes a broader appeal for incorporation of dance and the body into the study of meter. 4 Interested readers are encouraged to look up...
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Journal Article
Journal of Music Theory (2007) 51 (2): 211–243.
Published: 01 October 2007
... . Frankfurt: Waldemar Kramer. Irmen, Hans-Josef. 1989 . “Die Musik und ihre folkloristischen Quellen.” In Hänsel und Gretel: Studien und Dokumente zu Engelbert Humperdincks Märchenoper , 89 -104. New York: Schott. Kaplan, Amelia. 2000 . “Meter and Hypermeter as a Means of Signification in Wagner's...
Journal Article
Journal of Music Theory (2003) 47 (1): 125–154.
Published: 01 April 2003
... themes are closing themes, and a great many closing themes are end-accented.11 The themes are similar, also, with regard to the fac- tors causing this “end-accented” hearing to arise. The most important fac- tor is context; in each case, the previous cadence, ending in a hypermet- rically strong...
Journal Article
Journal of Music Theory (2009) 53 (2): 305–328.
Published: 01 October 2009
.... McClelland, Ryan. 2006 . “Extended Upbeats in the Classical Minuet: Interactions with Hypermeter and Phrase Structure.” Music Theory Spectrum 28 : 23 –56. McKee, Eric. 2004 . “Extended Anacruses in Mozart's Instrumental Music.” Theory and Practice 29 : 1 –37. Ratner, Leonard. 1980 . Classic...
Journal Article
Journal of Music Theory (2011) 55 (2): 253–264.
Published: 01 October 2011
... in the Music of Robert Schumann . New York : Oxford University Press . ———. 2005 . “ Hypermeter and Hypermetric Irregularity in the Songs of Josephine Lang .” In Engaging Music: Essays in Music Analysis , ed. Stein Deborah J. , 13 – 29 . New York : Oxford University Press . ———. 2009...
Journal Article
Journal of Music Theory (2015) 59 (2): 321–332.
Published: 01 October 2015
...-level hypermeter (139–40). He uses “min- imally metrical” to refer to music “that does not ask the listener to mobilise any metrical structure deeper than that which governs the relationships between the tactus and its subdivisions” (144). Dueck presents three case studies, from fiddling...
Journal Article
Journal of Music Theory (2010) 54 (2): 235–282.
Published: 01 October 2010
...), the resulting phrase overlap constitutes a rare instance of metrical reinterpreta- tion in five-bar hypermeter. As such, it illustrates hypermetrical irregularity 1 Throughout this article I use Koch’s (1782–93) terminology harmonic basis” (1983, 56 [1787, 457 in reference to for descriptions...
Journal Article
Journal of Music Theory (2018) 62 (1): 145–154.
Published: 01 April 2018
...), Mozart (lesson 7), Beethoven (lessons 8, 9, and 12), and Haydn (lesson 11). The exceptions are lessons 1 and 10, which deal respectively with “Linear Progressions and Neighbor Notes” and “Rhythm, Hypermeter, and Phrase.” The issues raised in lessons 1 and 10 are relevant to practically all...
Journal Article
Journal of Music Theory (2001) 45 (2): 457–469.
Published: 01 October 2001
... overlaps the division into lines” (p. 89). In contrast with works that have regular hypermeters and even proportional Ursätze, Schachter concedes that this particular song “is highly unusual” from a rhythmic perspective and has “no consistent hypermeter” (pp. 92, 89). He defends Schubert’s decision...
Journal Article
Journal of Music Theory (2021) 65 (1): 11–16.
Published: 01 April 2021
... what we earlier presumed to be the notated downbeat. It is what modern music theorists refer to as a hyperpulse , which participates in a hypermeter : a meter whose slowest pulse period exceeds the size of a notated measure. The recursive units of rhythm, groups or phrases, interact...
Journal Article
Journal of Music Theory (2021) 65 (1): 3–9.
Published: 01 April 2021
... to welcome coverage of such a wide variety of genres, both social/folk and theater dance forms, and historical periods. It is also interesting to note theoretical connections across genres, in particular, a concern with rhythmic issues: meter and hypermeter and their potential for crossing and displacement...
Journal Article
Journal of Music Theory (2021) 65 (2): 375–386.
Published: 01 October 2021
... approach to this repertoire (8–11). The next five chapters are each dedicated to one or two musical parameters: scales and key, harmony, rhythm and meter (including harmonic rhythm and hypermeter), melody (including some discussion of phrase and register), and timbre and instrumentation. The following...
Journal Article
Journal of Music Theory (2017) 61 (2): 289–296.
Published: 01 October 2017
..., as beginning oriented, while oth- ers imagine it as ending oriented. A related issue is that of hypermeter, which was implicitly acknowledged in theories of compounded meter in the eigh- teenth century but became a more general concern later on. An important manifestation of the independence of meter...
Journal Article
Journal of Music Theory (2021) 65 (1): 107–137.
Published: 01 April 2021
... a listener interprets the underlying hypermeter of this expanded closing passage, the extreme force of the compounded metrical dissonances, combined with the sustained dominant pedal (held from m. 17 on) and the dancer's virtuosic performance, creates a buildup of tension—the virtuosic metrical dissonance...
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Journal Article
Journal of Music Theory (2006) 50 (2): 277–290.
Published: 01 October 2006
... central, place in the theory’s domain; introductory presentations of Schenker often begin with classical-period pieces (Jonas [1934] 1982; Cadwallader and Gagne 1998). Studies of meter and hypermeter have also given particular attention to the classical repertoire (Kamien 1993; McKee 2004...
Journal Article
Journal of Music Theory (2012) 56 (2): 285–291.
Published: 01 October 2012
..., hypermeter. but because it places them in relation to their opposites” (24). 290 J O U r n a l o f M U S I c T h e o r y confusion, or at least kept her focus sharper, had she held to them more...
Journal Article
Journal of Music Theory (2000) 44 (2): 261–322.
Published: 01 October 2000
... of three-measure phrases forms a metrical pattern—namely, three-measure hypermeter, a concept that Cone (1968), Schachter (1976), Rothstein (1989), and others have explored, and that Rothstein has defined most succinctly as a “. . . combination of measures on a metrical basis . . . including both...
Journal Article
Journal of Music Theory (2021) 65 (1): 39–80.
Published: 01 April 2021
... of the song features groupings that are multiples of two measures. However, in three instances this otherwise regular hypermeter is disrupted—near the beginning of the song (in the instrumental introduction), in the middle (in a vocal interlude prior to the entrance of the montuno ), and near the end...
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