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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
... . 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 (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 (2000) 44 (2): 451–485.
Published: 01 October 2000
... . “The Coda Wagging the Dog: Tails and Wedges in the Chopin Ballades.” In Nineteenth-Century Piano Music: Essays in Performance and Analysis , ed. David Witten. New York: Garland Publishing. THE PATH FROM TONIC
TO DOMINANT IN THE
SECOND MOVEMENT OF
SCHUBERT’S...
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in Periodicity-Based Descriptions of Rhythms and Steve Reich's Rhythmic Style
> Journal of Music Theory
Published: 01 October 2021
Figure 18. Canons on the signature rhythm in the third movement of Electric Counterpoint (mm. 116–17).
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Published: 01 October 2022
Example 9. Messiaen, La Nativité du Seigneur (1935), mm. 294–6 (movement VI).
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Published: 01 October 2022
Example 10. Messiaen, La Nativité du Seigneur , mm. 342–3 (movement VI).
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Published: 01 October 2022
Example 11. Messiaen, La Nativité du Seigneur , mm. 493–4 (movement IX).
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Published: 01 October 2022
Example 12. Messiaen, La Nativité du Seigneur , mm. 28–9 (movement I).
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in Lutosławski's Mid-Century Harmony: Reconceptualizing Chordal Space in the Five Iłłakowicz Songs
> Journal of Music Theory
Published: 01 October 2023
Figure 15. Pitch reduction of “Metamorphoses” (second movement of Musique funèbre ): (a) in sections (Métamorphoses) 1 and 6, P-rows are integrated within Locrian segments; (b) integration of P-row space within an affinity cycle A 5 : 2–2–1-cycle, which embeds Locrian segments.
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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.
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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.
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Published: 01 April 2024
Figure 4. Steinbeck's example 9.4, a form chart for three consecutive movements in Nicole Mitchell's Mandorla Awakening II.
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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 (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...
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 (2023) 67 (1): 71–98.
Published: 01 April 2023
... and Third Symphonies, the opening movements of the G-minor Piano Quartet and Fourth Symphony, and the Tragic Overture . This common basic principle can nevertheless underpin a variety of formal typologies. Ostensibly a three-part sonata form with developmental double return would be most likely labeled...
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