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minor

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Journal Article
Journal of Music Theory (2020) 64 (2): 241–281.
Published: 01 October 2020
... (letter names without accidentals) of the tonic, and the note in question. From there one can infer other information, such as scale degree, mode, and la -minor solfège. In the construction of modal spelled pitch class, la -minor solfège is of equal importance to do -minor solfège, and subsequent analyses...
Journal Article
Journal of Music Theory (2016) 60 (1): 51–88.
Published: 01 April 2016
..., and a heuristic framework of dialectical topics derived from late-style criticism. Comparison with several of Schumann's chamber works in A minor, and with his Piano Concerto, underscores the technical refinements of the Cello Concerto. These comparisons also suggest that Schumann may have composed in something...
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Published: 01 October 2022
Example 3. Chopin, Nocturne in C minor, op. 48/1, mm. 1–4. More
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Published: 01 October 2022
Example 4. Liszt, Piano Sonata in B minor, mm. 105–10 (subordinate theme 1, segment). More
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Published: 01 October 2022
Example 5. Chopin, Nocturne in C minor, op. 48/1, mm. 25–42 (segment of the middle section). More
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Published: 01 October 2022
Example 6. Chopin, Nocturne in C minor, op. 48/1, mm. 49–52 (segment of the “dynamized” reprise, fusing four topics: recitative-declamation, chorale, march, and tempest/whirlwind). More
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Published: 01 October 2022
Example 7. Liszt, Piano Sonata in B minor, mm. 8–17. More
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Published: 01 October 2022
Example 8. Liszt, Piano Sonata in B minor, mm. 153–60 (ST2). More
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Published: 01 April 2023
Example 1a. Brahms, Violin Sonata no. 3 in D minor, op. 108, i, start of exposition More
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Published: 01 April 2023
Example 1b. Brahms, Violin Sonata no. 3 in D minor, op. 108, i, start of development More
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Published: 01 April 2023
Example 6a. Brahms, Piano Trio no. 3 in C minor, op. 101, i, start of exposition More
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Published: 01 April 2023
Example 6b. Brahms, Piano Trio no. 3 in C minor, op. 101, i, start of development More
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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. More
Journal Article
Journal of Music Theory (2017) 61 (2): 243–287.
Published: 01 October 2017
...Christopher Segall Numerous late twentieth-century composers grappled with the problem of using triads in non-tonal ways. Alfred Schnittke’s atonal music of 1974–85 offers a solution by relying on three triad-to-triad relations: P (parallel), S (slide), and M (minor third). The first two...
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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
Journal of Music Theory (2020) 64 (2): 147–201.
Published: 01 October 2020
... keys—all of the modern major and minor keys with up to four signature accidentals. But the route from eight to eighteen keys was not straightforward. This article traces this route by examining how the function of signature flats and sharps changed in seventeenth-century England. At the beginning...
Journal Article
Journal of Music Theory (2008) 52 (2): 273–320.
Published: 01 October 2008
... of this article examines the Two Rhapsodies, op. 79. The unusual harmonic structure of the G-minor rhapsody is read in light of 1-cycles present within the opening tiered polyphony. In the B-minor rhapsody, the content of three concurrent cycles at the opening—a 4-cycle, 1-cycle, and 5/7-cycle—is respectively...
Journal Article
Journal of Music Theory (2014) 58 (1): 25–56.
Published: 01 April 2014
... comparison between Roesner’s interpretation of the outer movements of the String Quartet in A minor as examples of deficient two-part expositions and readings of them instead as instances of the continuous type. The first movement of the Second Symphony illustrates that the tonal pairing of the A-minor...
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 (2006) 50 (2): 181–210.
Published: 01 October 2006
...Lauri Suurpää This study examines interactions among form, Schenkerian voice-leading structure, and certain dramatic features in two Mozart expositions: the second movement of the G-minor symphony, K. 550, and the opening movement of the G-minor string quintet, K. 516. The analyses frequently...