1-20 of 172 Search Results for

movement

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 October 2000) 44 (2): 451–485.
Published: 01 October 2000
... MOVEMENT OF SCHUBERT’S STRING QUINTET AND IN CHOPIN’S FOURTH BALLADE Lauri Suurpää Introduction In Free Composition Schenker begins the discussion of the middle- ground level by describing different ways in which the tonic-dominant...
Journal Article
Journal of Music Theory (1 April 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 (1 April 2016) 60 (1): 51–88.
Published: 01 April 2016
... . Princeton, NJ : Princeton University Press . Hepokoski James . 2012 . “Monumentality and Formal Processes in the First Movement of Brahms's Piano Concerto no. 1 in D minor, op. 15.” In Expressive Intersections in Brahms: Essays in Analysis and Meaning , ed. Platt Heather Smith Peter H...
Journal Article
Journal of Music Theory (1 October 2002) 46 (1-2): 364–368.
Published: 01 October 2002
...- stein himself acknowledges that Schenker uses the mixed major/minor mode 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...
Journal Article
Journal of Music Theory (1 April 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...
Journal Article
Journal of Music Theory (1 April 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...
Journal Article
Journal of Music Theory (1 October 2015) 59 (2): 191–234.
Published: 01 October 2015
... 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 (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 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 2015) 59 (2): 273–320.
Published: 01 October 2015
... 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 (1 October 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 . Philip Stoecker is associate professor of music at...
Journal Article
Journal of Music Theory (1 October 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 (1 October 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 (1 April 2017) 61 (1): 111–140.
Published: 01 April 2017
... multiaggregate cycles 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...
Journal Article
Journal of Music Theory (1 October 2002) 46 (1-2): 370–371.
Published: 01 October 2002
... 2002 © Yale University, New Haven, Connecticut 06520 2002 ERRATUM We regret that elements were incorrectly entered in Edward Laufer's sketch of Mozart K. 545, 1st movement, that appeared in the Appendix to Gordon Sly's article in vol. 45, no. 1. The corrected...
Journal Article
Journal of Music Theory (1 October 2004) 48 (2): 337–354.
Published: 01 October 2004
... excellent model for other analysts to follow (1994). Smith’s insightful explications of the structural anomalies of each movement, of the subtleties in Schenkerian analysis, and the importance of Brahms’s handling of rhythm guarantee that scholars will consult this volume for decades to come...
Journal Article
Journal of Music Theory (1 April 2003) 47 (1): 41–101.
Published: 01 April 2003
... work of special significance, due to its unusual design—beginning with an imposing variations movement based on a rather cryptic, understated theme. The entire quartet is perva- sively major, with minor-mode contrasts obtained mainly by briefly touching upon the diatonic minor functions—ii (f minor...
Journal Article
Journal of Music Theory (1 April 2001) 45 (1): 119–143.
Published: 01 April 2001
... young teenager, to the framing movements of the B≤ Piano Trio and the finale of the Great C-major Symphony, both conceived in the last years of his life. His well-known propensity for preserving in the recapitulation the broad modulation scheme of the exposition underlies many of these designs, such...
Journal Article
Journal of Music Theory (1 April 2001) 45 (1): 144–150.
Published: 01 April 2001
...Edward Laufer 2001 © Yale University, New Haven, Connecticut 06520 2001 APPENDIX Edward Laufer REVISED SKETCH OF MOZART, K. 545/I AND COMMENTARY This movement presents many unusual features, which...
Journal Article
Journal of Music Theory (1 October 2000) 44 (2): 381–450.
Published: 01 October 2000
.... Berger, Karol. 1996 . “The First-Movement Punctuation Form in Mozart's Piano Concertos.” In Zaslaw 1996, 239 –59. Blume, Friedrich. 1924 . “Die Formgesichtliche Stellung der Klavier-Konzerte Mozarts.” Mozart Jahrbuch 2 : 81 –107. Brink, Meileten. 1995 . Die Flötenkonzerte von Johann...