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Journal of Music Theory (2004) 48 (1): 25–68.
Published: 01 April 2004
.... ____. 2001 . Musical Meaning: Toward a Critical History . Berkeley: University of California Press. Krebs, Harald. 1981 . “Alternatives to Monotonality in Early Nineteenth-Century Music.” Journal of Music Theory 25/1 : 1 -16. ____. 1985 . “The Background Level in Some Tonally Deviating Works...
Journal of Music Theory (2010) 54 (2): 235–282.
Published: 01 October 2010
... different levels of listening experience: One dimension of the play belongs to the unconscious “modular” level of processing and hence, in principle, was accessible to all attentive listeners of the eighteenth century, including less cultivated ones ( Liebhaber ). The other dimension involves the “central...
Journal of Music Theory (2015) 59 (1): 63–97.
Published: 01 April 2015
... 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...
Journal of Music Theory (2006) 50 (2): 211–251.
Published: 01 October 2006
... simultaneously as a local, harmonic event and as a global, formal event. On the local level, it may either prolong one harmony or progress from one to another. On the global level, it can serve a variety of formal functions: highlighting salient cadences; opening a space for virtuosic display; and developing...
Journal of Music Theory (2019) 63 (1): 35–70.
Published: 01 April 2019
... modifies the prototypical big-band arrangement by merging the solo section with the ensemble feature, resulting in a trademark “Solo-Recapitulation trajectory,” which creates a deep-level structure comprising three “Spaces.” “Space division criteria” capture how broad expectations for jazz performance...
Journal of Music Theory (2010) 54 (1): 121–140.
Published: 01 April 2010
... of their greatest commonality and thus comes into conflict with itself as well. It does so by placing Cavell's arguments and Adorno's both into the broader contexts of their respective philosophies more generally. On this broader level, it argues that Cavell and Adorno share a common concern with the relationship...
Journal of Music Theory (2013) 57 (1): 47–85.
Published: 01 April 2013
... with respect to both period and phase. The downbeats of these heard measures are the hyperbeats that relate to one another by means of the hypermetrical schemas. Metrical orientation is top-down and schema driven; it thus complements low-level, bottom-up cognitive accounts of meter. The hypermetrical schemas...
Journal of Music Theory (2013) 57 (2): 321–371.
Published: 01 October 2013
... at a fourfold hierarchy of fictional agent types—the individuated element , the work-persona , the fictional composer , and the analyst —the study then examines their relational logic, with special interest in (1) the ways that explicit agency claims at one level can spin off implicit claims at another and (2...
Journal of Music Theory (2014) 58 (2): 103–154.
Published: 01 October 2014
.... Part I provides an account of the rules that generate phonological words and phrases in German, the principles that determine the normal placement of stress in words and phrases, and motivations for the abnormal placement of stress. Part II looks at higher-level, facultative structures in prosodic...
Journal of Music Theory (2014) 58 (2): 155–178.
Published: 01 October 2014
..., moderate level. The repetition of a pattern of intervals is (in some circumstances, at least) highly probable; in some cases, the information density of such repetitions may be undesirably low. The composer can balance this low information by injecting a high-information (i.e., low-probability) element...
Journal of Music Theory (2016) 60 (2): 181–212.
Published: 01 October 2016
... level, aligned-cycle families. To conclude, I reexamine a three-voice aligned cycle from the second movement of Berg's String Quartet, op. 3, and investigate cyclic progressions in Thomas Adès's Piano Quintet, Lieux retrouvés , and The Tempest . Aligned-Cycle Spaces...
Journal of Music Theory (2006) 50 (1): 77–101.
Published: 01 April 2006
... stimulates new levels and types of connection, just as a melodic pattern continually recalibrates and interacts with potential harmonic and contrapuntal orientations. Changing or shifting emphases in one orientation respond to the demands or constraints of another; in particular, I track the tonal potential...
Journal of Music Theory (2018) 62 (1): 85–118.
Published: 01 April 2018
... with the thematic process, whereby the network of pitch relations becomes drawn into the unfolding of the work’s motivic logic. It is argued that, under Sibelius’s extreme the-maticism, melodic organization intersects with macroharmony and scale, blurring the distinction between hierarchical levels of pitch...
Journal of Music Theory (2020) 64 (1): 1–36.
Published: 01 April 2020
... as formulated by William Caplin. This article proposes a framework for modeling expectation at the theme and phrase level. This is premised on the idea that conventional beginning-ending pairs condition listeners to expect certain endings when they hear certain beginnings. An expansion of Caplin’s categories...
Journal of Music Theory (2021) 65 (1): 17–38.
Published: 01 April 2021
... couple revealed a long-medium-short duration pattern at the beat level in both the fiddler's and the dancers' periodic movements. The results also revealed a correspondence between how the fiddler and the dancers executed the motion patterns. This correspondence suggests that the performers share...
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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. Copyright © 2021 by Yale University 2021...
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Journal of Music Theory (2009) 53 (1): 57–94.
Published: 01 April 2009
... of events of long-range structural importance such as cadences that provide tonal and formal closure at the deepest level. Yale University 2009 Alan Dodson is Assistant Professor of Music Theory at the University of British Columbia. His current research on rhythm and performance in tonal music...
Includes: Supplementary data
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 of Music Theory (2004) 48 (2): 325–336.
Published: 01 October 2004
... guided toward the most salient temporal locations for future events. The premise that meter is a form of entrainment behavior has several implications for London’s study. The first of them concerns the “depth of entrainment,” defined by the number of metrical levels. In contemporary music theory...
Journal of Music Theory (2003) 47 (1): 125–154.
Published: 01 April 2003
... , edited by Lewis Lockwood and James Webster, 166 -93. Lincoln: University of Nebraska Press. Samarotto, Frank. 1999 . “Strange Dimensions: Regularity and Irregularity in Deep Levels of Rhythmic Reduction.” In Schenker Studies 2 , edited by Carl Schachter and Hedi Siegel, 222 -38. Cambridge, UK...