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madrigals

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Journal Article
Journal of Music Theory (2011) 55 (2): 271–281.
Published: 01 October 2011
... of Interval Affect: The Musica Nova Madrigals and the Novel Theories of Zarlino and Vicentino Ashgate , 2010 : xiii + 318 pp. $119.95 cloth © 2012 by Yale University 2012 Works Cited Feldman Martha . 1995 . City Culture and the Madrigal at Venice . Berkeley : University...
Journal Article
Journal of Music Theory (2023) 67 (2): 251–284.
Published: 01 October 2023
...Peter Schubert Abstract Studies of tonality in Monteverdi's madrigals have focused on cadential harmonies at phrase endings, for the most part ignoring the music that comes in between. The present study, focusing on homorhythmic music, identifies three elements lying between chordal arrivals...
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Published: 01 October 2023
Appendix Figure 2-2. The contrary motion schemata in the first thirteen madrigals of book 5, by the measure number at the beginning of the schema (those shown in Example 5 are asterisked). The parentheses at m. 22 of no. 9 indicate a fragment of the CMx schema. More
Journal Article
Journal of Music Theory (2015) 59 (2): 235–271.
Published: 01 October 2015
...Megan Kaes Long In 1595 Thomas Morley published The First Booke of Balletts , a collection of “Italian madrigals Englished.” Rather than writing English words for unaltered Italian works as his predecessors had done, Morley created original compositions loosely modeled on Italian works. Analysis...
Journal Article
Journal of Music Theory (2021) 65 (2): 239–285.
Published: 01 October 2021
... leading tones, and (3) chromatically thwarted leading tones. For each type, the article discusses representative examples drawn from motets and madrigals by Orlando di Lasso, Giaches de Wert, Luca Marenzio, Luzzasco Luzzaschi, Alfonso Fontanelli, and Carlo Gesualdo, and considers how the chromatic...
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Journal Article
Journal of Music Theory (2008) 52 (1): 41–74.
Published: 01 April 2008
..., James. 1999 . “ `Such Sweet Sorrow': The dialogo di partenza in the Italian Madrigal.” Early Music 27 : 576 -99. Cohen, Vered, trans. and Claude V. Palisca, ed. 1983 . On the Modes: Part IV of “Le istitutione harmoniche,” 1558 . New Haven: Yale University Press. Partial translation of Zarlino...
Journal Article
Journal of Music Theory (2017) 61 (2): 289–296.
Published: 01 October 2017
... case for associating integrated metric shifts with the dissociation of meter from tempo and character in the late eighteenth and early nineteenth centuries, yet looking back further, we can find similar techniques in the music of the sixteenth century. Countless madrigals shift between what...
Journal Article
Journal of Music Theory (2020) 64 (2): 283–291.
Published: 01 October 2020
... in Psychology 8: 1314. doi .org/10.3389/fpsyg.2017.01314. Maus, Fred Everett. 1989. Agency in Instrumental Music and Song. College Music Symposium 29: 31 43. McClary, Susan. 2004. Modal Subjectivities: Self-Fashioning in the Italian Madrigal. Berkeley: University of California Press. Merleau-Ponty, Maurice...
Journal Article
Journal of Music Theory (2008) 52 (1): 159–180.
Published: 01 April 2008
... artificialis) produced by humans. Oselletto selvaggio per stagione, set both as a two-voice madrigal and as a three-voice caccia by the fourteenth-century Italian composer Jacopo da Bologna, compares the songs of a wood bird (presumably...
Journal Article
Journal of Music Theory (2009) 53 (2): 255–304.
Published: 01 October 2009
.... Second, one also finds passages in which notated chromatic semitones occur in completely diatonic progressions. The best known of these comes fromJMT 53:2 Luca A-RMarenzio’s Job 149-8 madrigal Adams O Examplevoi che sospirate 2 a miglior note (1581), in which...
Journal Article
Journal of Music Theory (1999) 43 (2): 359–371.
Published: 01 October 1999
... when modal motets and madrigals, or post-tonal works, are brought under review. Brief, inevitably incomplete indications of what Hasty’s analyses actually look like are provided by Examples 1 and 2. Hasty’s Example 13.1 (212), from the first movement of Beethoven’s first sym- phony, shows a process...
Journal Article
Journal of Music Theory (2001) 45 (1): 204–227.
Published: 01 April 2001
... to Schenker are taken by means of Gestalt psychology (after 1890) and Arnold Schering’s notion of Dekolorieren (“disembellishment,” 1911–12) as applied to the 14th-century Italian madrigal. Ernst Kurth’s 1917 book Grundlagen des linearen Kontra- punkts, which enshrined the idea of polyphonic melody...
Journal Article
Journal of Music Theory (2004) 48 (1): 69–98.
Published: 01 April 2004
... to uncover motivic relations in Webern’s op. 17. Crumb’s Verte desnuda es recordar la tierra (To see you naked is to remember the earth), from Madrigals, Book 1, provides a case in point. The piece be- gins with the <–6 +13> three-note shape/interval motive bracketed in m. 1 of Ex. 16. A transposed...
Journal Article
Journal of Music Theory (2017) 61 (2): 243–287.
Published: 01 October 2017
... ¢ J ‰ œJ œ ‰ Œ œ Œ Œ 3 3 Example 7.  Schnittke, Three Madrigals (1980), no. 3, “Reflection,” mm. 9–12. Text by Francisco Tanzer. © 1980 by G. Schirmer, Inc. International copyright secured...
Journal Article
Journal of Music Theory (2007) 51 (2): 245–276.
Published: 01 October 2007
... addressed” (2007, 1). This state of affairs is gradually changing. Recently, David Metzer (2006) explored the use of silence in modernist music, and Ellen Harris (2005) traced early precedents for Handel’s uses of silence in the madrigal and Corelli Trio Sonatas. This arti- cle looks at repertoire...
Journal Article
Journal of Music Theory (2017) 61 (1): 1–28.
Published: 01 April 2017
... mutually have, on the one hand, features in common, and on the other hand, different features which are suited to placing them in distinct categories. The motet, frottola, villanella, madrigal, praeambulam, ricercar, sonata, suite, symphony (in the modern sense), etc., belong...
Journal Article
Journal of Music Theory (2003) 47 (1): 1–39.
Published: 01 April 2003
.... Beginning with the motets, chansons, and madrigals of the sixteenth century, and continuing into the nineteenth and twentieth centuries, some composers included among their composi- tional goals a desire to achieve dramatic effect. It is not surprising, there- fore, that narrative organization begins...
Journal Article
Journal of Music Theory (2001) 45 (2): 345–433.
Published: 01 October 2001
...), the general theory might inform analysis of an isorhythmic motet, Monteverdi madrigal, or a North Indian raga impro- visation; or an analysis of features of the galant style, a neo-Riemannian approach to the analysis of late nineteenth-century chromatic harmony, or a comparative study of sonic...