1-20 of 166 Search Results for

minor

Follow your search
Access your saved searches in your account

Would you like to receive an alert when new items match your search?
×Close Modal
Sort by
Journal Article
Journal of Music Theory (1 April 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...
Journal Article
Journal of Music Theory (1 October 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 are...
Journal Article
Journal of Music Theory (1 April 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 (1 October 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...
Journal Article
Journal of Music Theory (1 October 2008) 52 (2): 273–320.
Published: 01 October 2008
... 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 (1 April 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 (1 October 2009) 53 (2): 255–304.
Published: 01 October 2009
...Kyle Adams This article is intended as a solution to a perceived problem with existing theories of pretonal chromatic music: Many modern theories of this repertoire have made anachronistic uses of models from major/minor tonality, and contemporaneous theories were not broad enough to adequately...
Journal Article
Journal of Music Theory (1 October 2013) 57 (2): 193–243.
Published: 01 October 2013
... orchestration of the “Rondo alla Zingarese” from Brahms’s G-minor Piano Quartet matches “indirectly related” harmonies with vivid wind and percussion colors and “closely related” harmonies with string-centered sonorities. Jeffrey DeThorne earned his Ph.D. at the University of Wisconsin-Madison. His research...
Journal Article
Journal of Music Theory (1 April 2014) 58 (1): 1–24.
Published: 01 April 2014
... consequences of such changes are most often purely tonal in nature, giving rise to modulations that would otherwise take place during episodes. Much less frequently, tonal and rhythmic transformations of the subject may occur simultaneously, as in the fugue from the Sinfonia that opens Partita no. 2 in C minor...
Journal Article
Journal of Music Theory (1 October 2013) 57 (2): 321–371.
Published: 01 October 2013
..., etc.), and fictionalized versions of their composers. This study investigates the use of such agential conceits and the conventions that seem to govern them, using the opening of Beethoven’s A-minor Quartet, op. 132, as a central test case. The descriptive model it constructs borrows key concepts from...
Journal Article
Journal of Music Theory (1 April 2013) 57 (1): 87–118.
Published: 01 April 2013
... of the piece or reset the durational clocks of the piece for proper cadential closure. Examples range from Handel’s keyboard suites and Concerti Grossi, op. 6, as well as Bach’s English Suites, to Couperin’s B-minor Passacaille and Brahms’s Capriccio, op. 76/2. Channan Willner is acquisitions...
Journal Article
Journal of Music Theory (1 April 2006) 50 (1): 103–110.
Published: 01 April 2006
... chord in a descending fifths sequence happened to be tonicized (such as the VI chord in Example 1), it would seem misleading to describe this simply as “a passage in G minor with a tonicization of E≤ major” since the tonicization arises out of the harmonic...
Journal Article
Journal of Music Theory (1 April 2012) 56 (1): 53–86.
Published: 01 April 2012
... editions of Schubert’s 12 Ländler, D. 790 (1864); piano score of the Mass in E♭ major, D. 950 (1865); Drei Klavierstücke, D. 946 (1868); 20 Ländler, D. 814 (1869); Quartettsatz in C minor, D. 703 (1870); and Der Strom, D. 565 (1877); as well as in the symphonies...
Journal Article
Journal of Music Theory (1 April 2015) 59 (1): 121–181.
Published: 01 April 2015
... A minor Quartet .” In Schubert the Progressive , ed. Newbould Brian , 53 – 80 . Aldershot : Ashgate . Temperley David . 2007 . Music and Probability . Cambridge, MA : MIT Press . Temperley David Marvin Elizabeth . 2008 . “ Pitch-Class Distribution and the...
Journal Article
Journal of Music Theory (1 October 2002) 46 (1-2): 347–363.
Published: 01 October 2002
... practice. (214) What I actually wrote, though, reads very differently: Scale-degree theories accounted for chromaticism by means of what Schenker called mixture (Mischung), which refers to contexts in which the music gains access to or borrows harmonies from the parallel major or minor. In...
Journal Article
Journal of Music Theory (1 October 2002) 46 (1-2): 364–368.
Published: 01 October 2002
... wrote, though, reads very differently: Scale-degree theories accounted for chromaticism by means of what Schenker called mixture (Mischung), which refers to contexts in which the music gains access to or borrows harmonies from the parallel major or minor. In order to increase the harmonic...
Journal Article
Journal of Music Theory (1 October 1999) 43 (2): 257–281.
Published: 01 October 1999
... ascending minor third (bracketed in Example 1b). These last progres- sions are nonfunctional, and represent part of a general trend toward increasing use of nonfunctional progressions in jazz at that time. As another example, the opening progression of “Litha” consists of chro- matic third relationships...
Journal Article
Journal of Music Theory (1 April 2003) 47 (1): 215–222.
Published: 01 April 2003
...-steps of the diatonic system. That other phenomenon, also customarily known as “chromaticism,” when two homonymous keys combine as, e.g., [the notes] E and E-flat in C major/minor, I do not regard as chromaticism but as an independent principle of composition, namely mixture, which I have...
Journal Article
Journal of Music Theory (1 October 2012) 56 (2): 225–283.
Published: 01 October 2012
... from Afar: Tonal Pairing, Formal Design, and Cyclical Integration in Schumann’s A-minor Violin Sonata, op. 105 .” Theory and Practice 34 : 47 – 80 . Sontag Susan . 1966 . Against Interpretation, and Other Essays . New York : Farrar, Straus and Giroux . Spitta Philipp . 1880...
Journal Article
Journal of Music Theory (1 October 2000) 44 (2): 451–485.
Published: 01 October 2000
... Chopin’s Fourth Ballade in F minor, op. 52. It would seem that in both pieces several instances of a basically stepwise I–V motion, occurring at different structural levels, create mo- tivic connections. Before such associations can be examined, however, one must define the conditions under which these...