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Journal Article

An Eightfold Taxonomy of Harmonic Progressions, and Its Application to Triads Related by Major Third and Their Significance in Recent Screen Music

Scott Murphy
Journal of Music Theory (2023) 67 (1): 141–169.
DOI: https://doi.org/10.1215/00222909-10232093
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 . [email protected] Copyright © 2023 by Yale University 2023 harmonic progression...
FIGURES | View All (7)
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Example 13. Major sixth leading tones.

Major sixth leading tones.

in An Intervallic Approach to Sixteenth-Century Chromaticism > Journal of Music Theory
Published: 01 October 2021
Example 13. Major sixth leading tones. More
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Example 2a. Brahms, Violin Sonata no. 1 in G major, op. 78, i, start of exposition

Brahms, Violin Sonata no. 1 in G major, op. 78, i, start of exposition

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 More
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Example 2b. Brahms, Violin Sonata no. 1 in G major, op. 78, i, start of development

Brahms, Violin Sonata no. 1 in G major, op. 78, i, start of development

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 More
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Example 3a. Brahms, Clarinet Sonata no. 2 in E-flat major, op. 120/2, i, start of exposition

Brahms, Clarinet Sonata no. 2 in E-flat major, op. 120/2, i, start of expos...

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 More
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Example 3b. Brahms, Clarinet Sonata no. 2 in E-flat major, op. 120/2, i, start of development

Brahms, Clarinet Sonata no. 2 in E-flat major, op. 120/2, i, start of devel...

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 More
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Example 4a. Brahms, Violin Sonata no. 2 in A major, op. 100, i, start of exposition

Brahms, Violin Sonata no. 2 in A major, op. 100, i, start of exposition

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 More
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Example 4b. Brahms, Violin Sonata no. 2 in A major, op. 100, i, start of development

Brahms, Violin Sonata no. 2 in A major, op. 100, i, start of development

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 More
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Example 5a. Brahms, Piano Trio no. 2 in C major, op. 87, i, start of exposition

Brahms, Piano Trio no. 2 in C major, op. 87, i, start of exposition

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 More
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Example 5b. Brahms, Piano Trio no. 2 in C major, op. 87, i, start of development

Brahms, Piano Trio no. 2 in C major, op. 87, i, start of development

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 More
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Example 7. Brahms, Violin Sonata no. 2 in A major, op. 100, i, end of exposition and start of development

Brahms, Violin Sonata no. 2 in A major, op. 100, i, end of exposition and s...

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 More
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Example 8a. Haydn, Piano Sonata in D major, Hob. XVI:51 (1794), i, start of exposition

Haydn, Piano Sonata in D major, Hob. XVI:51 (1794), i, start of exposition

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 More
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Example 8b. Haydn, Piano Sonata in D major, Hob. XVI:51 (1794), i, start of development

Haydn, Piano Sonata in D major, Hob. XVI:51 (1794), i, start of development...

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 More
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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♯.

A Mahanthappa-style line partitioning of the 01347B hexachord into a major ...

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♯. More
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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, and the resulting fifth is mediated as at d. B, d, and f exemplify harmonic-proportional mediation.

Mediated consonances. The octave at a is divided at b into a perfect fi...

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 More
Journal Article

Modal Spelled Pitch Class, La-Minor Solfège, and Schubert’s Third Relations

Nathan L. Lam
Journal of Music Theory (2020) 64 (2): 241–281.
DOI: https://doi.org/10.1215/00222909-8550795
Published: 01 October 2020
... in E ♭ major, D. 899, and Piano Sonata in B ♭ major, D. 960, demonstrate the analytic potential of modal spelled pitch class and the eight types of coordinated transpositions. While previous transformational theories have shed light on third relations in Schubert’s harmony (Cohn 1999), modal spelled...
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Journal Article

Alfred Schnittke’s Triadic Practice

Christopher Segall
Journal of Music Theory (2017) 61 (2): 243–287.
DOI: https://doi.org/10.1215/00222909-4149606
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...
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Journal Article

The Type 2 Sonata in the Nineteenth Century: Two Case Studies from Mendelssohn and Dvořák

Peter H. Smith
Journal of Music Theory (2019) 63 (1): 103–138.
DOI: https://doi.org/10.1215/00222909-7320486
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. Copyright © 2019 by Yale University 2019 sonata form reversed recapitulation Felix Mendelssohn...
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Journal Article

Journal of Music Theory over the Years: Content Analysis of the Articles and Related Aspects

Yosef Goldenberg
Journal of Music Theory (2006) 50 (1): 25–63.
DOI: https://doi.org/10.1215/00222909-2008-005
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...
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Journal Article

Béla Bartók's Evolution of Tonal Resources

James N. Bennett
Journal of Music Theory (2017) 61 (1): 111–140.
DOI: https://doi.org/10.1215/00222909-3855732
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...
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