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Journal Article
Journal of Music Theory (2023) 67 (1): 141–169.
Published: 01 April 2023
.... To that end, this article pays particular attention to progressions of like-moded triads a major third apart, as demonstrated through analyses of music for the television series Bridgerton and the movie Ex Machina . smurphy@ku.edu Copyright © 2023 by Yale University 2023 harmonic progression...
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in Feinting Repeats, Repeating Feints: The Developmental “Double Return” in Brahms and Sonata Theory Typology
> Journal of Music Theory
Published: 01 April 2023
Example 2a. Brahms, Violin Sonata no. 1 in G major, op. 78, i, start of exposition
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in Feinting Repeats, Repeating Feints: The Developmental “Double Return” in Brahms and Sonata Theory Typology
> Journal of Music Theory
Published: 01 April 2023
Example 2b. Brahms, Violin Sonata no. 1 in G major, op. 78, i, start of development
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in Feinting Repeats, Repeating Feints: The Developmental “Double Return” in Brahms and Sonata Theory Typology
> Journal of Music Theory
Published: 01 April 2023
Example 3a. Brahms, Clarinet Sonata no. 2 in E-flat major, op. 120/2, i, start of exposition
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in Feinting Repeats, Repeating Feints: The Developmental “Double Return” in Brahms and Sonata Theory Typology
> Journal of Music Theory
Published: 01 April 2023
Example 3b. Brahms, Clarinet Sonata no. 2 in E-flat major, op. 120/2, i, start of development
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in Feinting Repeats, Repeating Feints: The Developmental “Double Return” in Brahms and Sonata Theory Typology
> Journal of Music Theory
Published: 01 April 2023
Example 4a. Brahms, Violin Sonata no. 2 in A major, op. 100, i, start of exposition
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in Feinting Repeats, Repeating Feints: The Developmental “Double Return” in Brahms and Sonata Theory Typology
> Journal of Music Theory
Published: 01 April 2023
Example 4b. Brahms, Violin Sonata no. 2 in A major, op. 100, i, start of development
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in Feinting Repeats, Repeating Feints: The Developmental “Double Return” in Brahms and Sonata Theory Typology
> Journal of Music Theory
Published: 01 April 2023
Example 5a. Brahms, Piano Trio no. 2 in C major, op. 87, i, start of exposition
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in Feinting Repeats, Repeating Feints: The Developmental “Double Return” in Brahms and Sonata Theory Typology
> Journal of Music Theory
Published: 01 April 2023
Example 5b. Brahms, Piano Trio no. 2 in C major, op. 87, i, start of development
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in Feinting Repeats, Repeating Feints: The Developmental “Double Return” in Brahms and Sonata Theory Typology
> Journal of Music Theory
Published: 01 April 2023
Example 7. Brahms, Violin Sonata no. 2 in A major, op. 100, i, end of exposition and start of development
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in Feinting Repeats, Repeating Feints: The Developmental “Double Return” in Brahms and Sonata Theory Typology
> Journal of Music Theory
Published: 01 April 2023
Example 8a. Haydn, Piano Sonata in D major, Hob. XVI:51 (1794), i, start of exposition
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in Feinting Repeats, Repeating Feints: The Developmental “Double Return” in Brahms and Sonata Theory Typology
> Journal of Music Theory
Published: 01 April 2023
Example 8b. Haydn, Piano Sonata in D major, Hob. XVI:51 (1794), i, start of development
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in Approximate Set Theory: Chord Categories, Voicings, and Interval Cycles
> Journal of Music Theory
Published: 01 April 2023
Figure 8.2. A Mahanthappa-style line partitioning of the 01347B hexachord into a major triad (open note heads) and a 024 subset. The line uses transpositions on C and F♯.
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in From Ramos to Rameau: Toward the Origins of the Modern Concept of Harmony
> Journal of Music Theory
Published: 01 April 2022
Example 1. Mediated consonances. The octave at a is divided at b into a perfect fifth below a perfect fourth. The fifth at c is divided at d into a major third below a minor third. At e an octave is divided into a major third below a minor sixth. At f an octave is mediated as at b
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in Approximate Set Theory: Chord Categories, Voicings, and Interval Cycles
> Journal of Music Theory
Published: 01 April 2023
Figure 3.4. A reduction of the opening of Stockhausen's Klavierstücke III. Approximate intervals are labeled above the staff, using “tt” for tritone and 7 and 9 for sevenths and ninths. Italics represent minor sevenths and minor ninths; regular type, major sevenths and ninths.
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Journal Article
Journal of Music Theory (2006) 50 (1): 25–63.
Published: 01 April 2006
..., the period of repertoire discussed, and major composers or theorists they were devoted to. Among the major findings, one can trace in a precise manner the centripetal process toward focus on Schenkerian and set theories (and the more recent opposite process), the almost total separation of discussions...
Journal Article
Journal of Music Theory (2017) 61 (1): 111–140.
Published: 01 April 2017
...James N. Bennett This article develops a method for interpreting Béla Bartók's early tonal practice that supposes a conceptual shift from a relatively historically static major-minor tonality to a multivalent, “evolving” tonality in which works express individual variations on abstract, communal...
Journal Article
Journal of Music Theory (2017) 61 (2): 243–287.
Published: 01 October 2017
... are familiar from neo-Riemannian theory; the third relates a major triad to the minor triad with a root three semitones higher (such as C major and E♭ minor). The PSM framework exhibits two properties ideally suited to an atonal triadic style. First, as each relation belongs to a different common-tone class...
Journal Article
Journal of Music Theory (2019) 63 (1): 103–138.
Published: 01 April 2019
... by their supple form-content synergies serve as case studies: the Andante from Mendelssohn’s octet for strings in E♭ major, op. 20, and the first movement from Dvořák’s string quartet in E♭ major, op. 51. Works Cited Aldwell Edward Schachter Carl . 2011 . Harmony and Voice Leading . 4th ed...
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