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Published: 01 April 2021
Example 5. Bach's 4-eighth-pulse accompaniment pattern in the first movement, where it appears in a metrically consonant context (2/2). BWV 1043, mvt. 1, mm. 63–66. Example 5. Bach's 4-eighth-pulse accompaniment pattern in the first movement, where it appears in a metrically consonant context More
Image
Published: 01 April 2021
Example 10. The first two dance positions of the first movement and the first two dance positions of the third-movement climax, compared. BWV 1043, mvt. 1, m. 1; mvt. 3, m. 127. Example 10. The first two dance positions of the first movement and the first two dance positions of the third More
Image
Published: 01 October 2021
Figure 18. Canons on the signature rhythm in the third movement of Electric Counterpoint (mm. 116–17). Figure 18. Canons on the signature rhythm in the third movement of Electric Counterpoint (mm. 116–17). More
Journal Article
Journal of Music Theory (2000) 44 (2): 451–485.
Published: 01 October 2000
...Lauri Suurpää THE PATH FROM TONIC TO DOMINANT IN THE SECOND MOVEMENT OF SCHUBERT’S STRING QUINTET AND IN CHOPIN’S FOURTH BALLADE Lauri Suurpää Introduction In Free Composition Schenker...
Journal Article
Journal of Music Theory (2015) 59 (1): 63–97.
Published: 01 April 2015
...Ellen Bakulina This article offers a Schenkerian interpretation of movement 12 from Sergei Rachmaninoff’s All-Night Vigil , also known as Vespers , op. 37 (1915), from the standpoint of tonal duality, known in Russian as peremennost’ , or mutability. First, I explore theoretical connections between...
Journal Article
Journal of Music Theory (2016) 60 (1): 51–88.
Published: 01 April 2016
... Schumann’s A-minor Mood Late-Style Dialectics in the First Movement of the Cello Concerto Peter H. Smith Abstract  Schumann’s adaptations of eighteenth-century instrumental forms have long been regarded as problematic...
Journal Article
Journal of Music Theory (2002) 46 (1-2): 364–368.
Published: 01 October 2002
... to discuss late romantic music and rightly points out that he also uses it for Bach and Beethoven. At the same time, in the context of late nineteenth-century music theory, nothing about, say, the first movement of K. 330 would ever have motivated much less required such an ela- borate and unwieldy...
Journal Article
Journal of Music Theory (2009) 53 (1): 1–56.
Published: 01 April 2009
..., a metric cube connects two meters if their ordered factor representations differ by only one factor. Metric cubes, and metric operations that act on the contents of a cube, reveal patterns of metric structure in three works by Brahms: the first movement of the Third Symphony op. 90, the third movement...
Journal Article
Journal of Music Theory (2019) 63 (1): 103–138.
Published: 01 April 2019
... they marshal different criteria and model out-of-phase relationships between, say, formal boundaries and Schenkerian tonal pillars. Throughout, the emphasis is on dynamic interactions between a type 2 movement’s generic formal characteristics and its compositional idiosyncrasies. Two movements distinguished...
Journal Article
Journal of Music Theory (2021) 65 (1): 139–169.
Published: 01 April 2021
...Example 5. Bach's 4-eighth-pulse accompaniment pattern in the first movement, where it appears in a metrically consonant context (2/2). BWV 1043, mvt. 1, mm. 63–66. Example 5. Bach's 4-eighth-pulse accompaniment pattern in the first movement, where it appears in a metrically consonant context...
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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...
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 (2015) 59 (2): 191–234.
Published: 01 October 2015
.... The article then reveals a fundamental trait prevalent in many of Shostakovich's aggregate melodies: they often convey distinct zones of chromatic activity, diatonic activity, or a mixture of both. Drawing on these terms and concepts, the final part of the article probes the second movement of the Twelfth...
Journal Article
Journal of Music Theory (2020) 64 (2): 203–240.
Published: 01 October 2020
... betrays the persistent gravitational pull of classical conventions, in contrast to Horton’s and Vande Moortele’s argument that a Romantic-centered corpus would tend to diminish that pull. Detailed analyses of select Dvořák movements focus on subordinate theme closure but also embrace broader concerns...
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Published: 01 April 2021
Figure 3. (a) A simplified transcription of “ Sud-Kåsen ” and plots showing (b) the amplitude waveform, (c) the audio spectrogram, (d) bowing movements, and (e) the vertical motion of the fiddler's feet over four measures. The foot stamping follows a long-medium-short duration pattern More
Journal Article
Journal of Music Theory (2006) 50 (2): 211–251.
Published: 01 October 2006
..., relating, and rehearing elements of the concerto movement proper. The cadenza's dual function grants it a potential far exceeding the simple characterization as parenthesis. Skillfully composed cadenzas exploit the tension between local and global functions and can initiate subtle yet profound rehearings...
Journal Article
Journal of Music Theory (2011) 55 (2): 221–251.
Published: 01 October 2011
... among which is the absence of a single example of a complete movement from existing music that embodies the form. Taking the perceived weaknesses of his discussion as a starting point, I argue that they are in fact the result of an ambitious and sophisticated approach to form, which depends on a more...
Journal Article
Journal of Music Theory (2015) 59 (2): 273–320.
Published: 01 October 2015
... and the emergence of a group structure, whose generators—named transpositio and transformatio —are also characteristic musical motions and relations. The proposed analytical methodology is probed in a couple of short pieces of Bartók's Mikrokosmos and in the third movement of his Piano Sonata. The article argues...
Journal Article
Journal of Music Theory (2016) 60 (2): 181–212.
Published: 01 October 2016
... level, aligned-cycle families. To conclude, I reexamine a three-voice aligned cycle from the second movement of Berg's String Quartet, op. 3, and investigate cyclic progressions in Thomas Adès's Piano Quintet, Lieux retrouvés , and The Tempest . Aligned-Cycle Spaces...
Journal Article
Journal of Music Theory (2017) 61 (1): 111–140.
Published: 01 April 2017
... and that these “(048) or (0369) chains” exemplify augmented and diminished tendencies propelling the development of new key variations. By way of demonstration, the article ends with several analyses of Bartók's works from the decade 1908–17: the first movement of the Second String Quartet (1914–17), “Three Autumn...