...David Temperley My discussion of Bach's chorale prelude “Das alte Jahr vergangen ist” centers on its key structure: the hierarchical arrangement of keys in the piece and the relationships between them. In the course of this discussion, I make a number of observations about the nature of key...

...Megan Kaes Long At the beginning of the seventeenth century English composers used only a handful of keys: they combined five keynotes (G, A, C, D, and F) with the three signatures documented in English solmization theory (♮,♭, and♭♭). By the end of the century English theorists described eighteen...

... ideas of key. Starting with Edward Gollin's recent generalization of Moritz Hauptmann's key representations as “multiaggregate cycles”—which he also uncovers on the surface of and in the relations between harmonies in Bartók's music—the article briefly reconsiders Hauptmann's theories and depictions...

... (i.e., preserves a different number of common tones), the framework affords voice-leading flexibility. Second, each relation is maximally distant within its class, minimizing the possibility of suggesting a key. Examples drawn from Schnittke’s works demonstrate how the PSM framework is used to create...

...) the recapitulation is an exact (or near-exact) restatement of the exposition’s thematic materials, and (2) it takes but one tonal alteration (or “adjustment”) of these materials to make a recapitulation conclude in the key in which it began. This article aims to examine the second of these presuppositions in hopes...

...Nathan L. Lam This article develops the notion of modal spelled pitch class by combining Julian Hook’s theory of spelled heptachords and Steven Rings’s heard scale degree. Modal spelled pitch class takes the form of an ordered triple that includes the key signature, the generic pitch classes...

... idea, which the artist imitates in a piece of music as a manifestation or development of one particular tone by means of the motive and the key. Schenker and Schoenberg further conceive of a piece as a picture of the tone and a statement about the tone. This analysis reveals that Schenker's...

... of the Second Symphony op. 73, and the last two movements of the Second String Quartet op. 51/2. These analyses also suggest correspondences in these movements between metric relationships and relationships of key, harmony, and form. Metric Cubes in Some Music of Brahms...

... in Bellini of tonal pairing, usually (but not always) involving relative keys. The sonorità or focal melodic pitch, long associated with Verdi’s operas, is found to play a unifying role in the second-act finale of Norma . Issues of reception history, text criticism, and analytical methodology are also...

... Quartet is hardly the only motivation for Schumann’s continuous expositions. Contra Newcomb, conventions of continuous exposition create a compelling musical narrative across the symphony’s three-key design. The presence of tonal polarity in this exposition highlights the need to interpret Schumann’s...

..., etc.), and fictionalized versions of their composers. This study investigates the use of such agential conceits and the conventions that seem to govern them, using the opening of Beethoven’s A-minor Quartet, op. 132, as a central test case. The descriptive model it constructs borrows key concepts from...

... to the deepest level of tonal hierarchy, at which two Ursätze in different keys are joined together at the same hierarchical level. In the process, I offer a slight adaptation of the Schenkerian background paradigms to accommodate the imperfect authentic cadence with 3 ^ in the soprano, which in Russian church...

.... In a second type, it involves a more general sense of continuity between formal sections. The study of harmonic cross-reference in the three-key expositions of Schubert's Quartettsatz and String Quintet and Brahms's Second Symphony and Clarinet Trio reveals a tension between functional distinctions...

... pizzicato strings, sustained winds, parallel thirds, and modulations to mediant keys. Although these figurae may appear in conjunction with diegetic serenades or topical serenade passages, they also frequently appeared independent of dramatically appropriate amorous situations. This article proposes...

... evolution narrative based on the European classical music tradition. It argues, furthermore, that scholarship can do away with the terms tonality and tonal music and would profit from instead using more specific terminology for musical features like tonics, major and minor keys, scale degrees, consonance...

... era, form was conceived primarily in terms of key relationships” (1949: 163). This view of sonata form as a key-area form was included in Ratner's Classic Music ( 1980 ), where it forms the nucleus of his project “to approach the music and musical precepts of the 18th century in much the same way...

... Press. Sams, Eric. 1983 . The Songs of Hugo Wolf . Rev. ed. Bloomington: Indiana University Press. Samson, Jim. 1977 . Music in Transition: A Study of Tonal Expansion and Atonality, 1900-1920 . London: Dent. Schachter, Carl. 1987 . “Analysis by Key: Another Look at Modulation.” Music...

... that leaves the opening “shadowed in obscurity, characterized by a sense of struggle or agitation” (p. 8). Yet even if one accepts that more than one key is suggested in the passage, the only alternative to E major would seem to be F≥ minor, which con- trols the opening measure but is immediately clarified...

... and attempt to justify my reading by referring to dramatic fit- ness. But as Tovey suggested, dramatic fitness “can be discussed only descrip- tively and analogically,” so its assessment is subjective and difficult to justify. My second key concept, rational...

... . Cognitive Foundations of Musical Pitch. New York : Oxford University Press . Krumhansl Carol Kessler Edward . 1982 . “ Tracing the Dynamic Changes in Perceived Tonal Organization in a Spatial Representation of Musical Keys .” Psychological Review 89/4 : 334 – 68 . Lewin David...