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Journal Article
Journal of Music Theory (1999) 43 (2): 283–314.
Published: 01 October 1999
... 8 : 63 –115. SWING AND MOTIVE IN
THREE PERFORMANCES BY
OSCAR PETERSON*
Steve Larson
Oscar Peterson really swings. Whatever their assessment of other as-
pects of his playing, his fans and detractors agree about...
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in Fuzzy Family Ties: New Methods for Measuring Familial Similarity between Contours of Variable Cardinality
> Journal of Music Theory
Published: 01 April 2022
Example 1. The opening motive of Beethoven's Symphony no. 5, op. 67.
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in Fuzzy Family Ties: New Methods for Measuring Familial Similarity between Contours of Variable Cardinality
> Journal of Music Theory
Published: 01 April 2022
Figure 1a. Conceptual model for the category “motive forms of the opening of Beethoven's Fifth Symphony” (Zbikowski 2002 : 47).
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in Fuzzy Family Ties: New Methods for Measuring Familial Similarity between Contours of Variable Cardinality
> Journal of Music Theory
Published: 01 April 2022
Figure 4a. Twenty-seven csegs from the motive family in mm. 1–37 of Beethoven's Fifth Symphony.
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in Fuzzy Family Ties: New Methods for Measuring Familial Similarity between Contours of Variable Cardinality
> Journal of Music Theory
Published: 01 April 2022
Example 4. A potential new motive from Beethoven Symphony no. 5, op. 67, i, mm. 35–36.
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in Fuzzy Family Ties: New Methods for Measuring Familial Similarity between Contours of Variable Cardinality
> Journal of Music Theory
Published: 01 April 2022
Example 5. A shorter motive in Beethoven Symphony no. 5, op. 67, i, mm. 182–87.
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in Fuzzy Family Ties: New Methods for Measuring Familial Similarity between Contours of Variable Cardinality
> Journal of Music Theory
Published: 01 April 2022
Figure 5b. Contiguous recency-oriented mapping of 〈=–〉 onto the Beethoven motive family tree.
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in Fuzzy Family Ties: New Methods for Measuring Familial Similarity between Contours of Variable Cardinality
> Journal of Music Theory
Published: 01 April 2022
Figure 5c. Mapping of 〈=–〉 onto the Beethoven motive family tree, omitting the middle position.
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in Fuzzy Family Ties: New Methods for Measuring Familial Similarity between Contours of Variable Cardinality
> Journal of Music Theory
Published: 01 April 2022
Example 6. Five-note motive variant in Beethoven’s Symphony no. 5, op. 67, i, mm. 39–40, second violin.
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Journal Article
Journal of Music Theory (2004) 48 (1): 69–98.
Published: 01 April 2004
... Analysis and Post-Tonal Music.” In Aspects of Schenkerian Theory , ed. David Beach. New Haven: Yale University Press, 153 -86. Benjamin, William E. 1979 . “Ideas of Order in Motivic Music.” Music Theory Spectrum 1 : 23 -34. Benjamin, William E. 1974 . “The Structure of Atonal Music by Allen...
Journal Article
Journal of Music Theory (2022) 66 (2): 280–290.
Published: 01 October 2022
... that Auerbach's reductions favor syntax over genuine salience, while nonetheless appealing to the notion of salience. My other reservation about EDR concerns the exclusion of accented non-chord tones from reductions. In his introduction to the book, Auerbach states that a motive must “be distinct enough from...
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Published: 01 October 2022
Figure 1. Summary of Auerbach's symbols for representing pitch motives.
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in Fuzzy Family Ties: New Methods for Measuring Familial Similarity between Contours of Variable Cardinality
> Journal of Music Theory
Published: 01 April 2022
Figure 1b. Conceptual model representing Quinn's motivic categorization for his “family M,” showing the hidden category of cardinality.
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in Fuzzy Family Ties: New Methods for Measuring Familial Similarity between Contours of Variable Cardinality
> Journal of Music Theory
Published: 01 April 2022
Figure 5a. Contiguous diachronic (primacy-oriented) mapping of 〈=–〉 onto the Beethoven motive family tree.
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in Fuzzy Family Ties: New Methods for Measuring Familial Similarity between Contours of Variable Cardinality
> Journal of Music Theory
Published: 01 April 2022
Figure 4b. Contour tree and CAS probability matrix representing the twenty-seven members of the Beethoven motive family.
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in Benjamin Britten's Musical Characterization of the Madwoman in Curlew River
> Journal of Music Theory
Published: 01 April 2024
Example 3. The Abbot, chorus, and organ at reh. 29 of Britten's Curlew River ; chords in the dashed boxes are related by T 8 I; interval classes derive from the “Curlew” motive.
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Journal Article
Journal of Music Theory (2006) 50 (2): 143–179.
Published: 01 October 2006
... for the sonorities involved (as defined by Schenkerian analysis), and the interconnection of these sonorities in processes of motivic development. Through this motivic interconnection, the sonorities achieve an ontological status partially independent of their individual linear-contrapuntal environments. Each...
Journal Article
Journal of Music Theory (2024) 68 (1): 35–58.
Published: 01 April 2024
...Example 3. The Abbot, chorus, and organ at reh. 29 of Britten's Curlew River ; chords in the dashed boxes are related by T 8 I; interval classes derive from the “Curlew” motive. ...
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Journal Article
Journal of Music Theory (2012) 56 (1): 53–86.
Published: 01 April 2012
... and are believed to have been written consecutively, this article explores some possible motivations for Schubert’s removal of the C section from the first piano piece. In particular, the article suggests that, even though the first two pieces originally shared a similar tonal and formal plan, Schubert’s treatment...
Journal Article
Journal of Music Theory (2012) 56 (2): 169–223.
Published: 01 October 2012
... of grammar induction is framed in terms of traditional concerns in music scholarship in order to motivate application of the technique, illustrate its usefulness, and place it in a historical and methodological context within music theory research. Panayotis Mavromatis is associate professor...
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