Skip Nav Destination
Close Modal
1-20 of 180 Search Results for
object
Follow your search
Access your saved searches in your account
Would you like to receive an alert when new items match your search?
1
Journal Article
Journal of Music Theory (2003) 47 (2): 363–369.
Published: 01 October 2003
... Musical Representations, Subjects, and Objects: The Construction of Musical Thought in Zarlino, Descartes, Rameau, and Weber Jairo Moreno Indiana University Press, 2004 xii+232 pp. REVIEW
Musical Representations, Subjects, and Objects: The Construction of
Musical Thought in Zarlino, Descartes...
Journal Article
Journal of Music Theory (2010) 54 (1): 75–90.
Published: 01 April 2010
... this argument, confronting the role of criticism as a responsibility the modernist object bears toward a skeptical listener. Ligeti's Apparitions (1959) deals specifically with serialism as both a modernist legacy and a hindrance to the composer's “seriousness and... sincerity” that Cavell considers of central...
Journal Article
Journal of Music Theory (2015) 59 (1): 121–181.
Published: 01 April 2015
... and takes a wider domain of harmonic objects. A number of musical examples show how expanding the domain enables us to extend and refine some the conclusions of neo-Riemannian theory about Schubert’s harmony. Through analysis of the Trio and Adagio from Schubert’s String Quintet and other works using...
Journal Article
Journal of Music Theory (2023) 67 (1): 141–169.
Published: 01 April 2023
...Scott Murphy Abstract A hybridization of two recent innovations in music theory—a focus on the progression of two triads as a unitary analytical object, and a component-wise formation of a set of equivalence classes—brings together under one conceptual and labeling system eight different approaches...
FIGURES
| View All (7)
Journal Article
Journal of Music Theory (2010) 54 (1): 5–23.
Published: 01 April 2010
...-garde art) from its more stringent critics. I then explain how my early work, while sharing Cavell's general aims, diverges from his specific claims. This involves considering some ways in which false beliefs can contribute to human flourishing. I then explore general objections to redemptive narratives...
Journal Article
Journal of Music Theory (2010) 54 (1): 25–36.
Published: 01 April 2010
...Lawrence Kramer Stanley Cavell's 1967 essay “Music Discomposed” claims that twentieth-century musical modernism incorporates the constant possibility of “fraudulence,” thus provoking the Philistine objection: why can't we write like Mozart any more? For Cavell the question is preeminently a matter...
Journal Article
Journal of Music Theory (2022) 66 (1): 1–42.
Published: 01 April 2022
...David E. Cohen Abstract This article explores the advent of two foundational characteristics of the modern concept of harmony inaugurated by Rameau's Traité de l'harmonie (1722): first, that its principal objects are sonorities of three or more distinct pitch classes, that is, consonant...
FIGURES
Journal Article
Journal of Music Theory (2022) 66 (2): 223–253.
Published: 01 October 2022
... of performers' contributions as a fundamental object of analysis. Example 3. Saunders, Crimson, mm. 64–8. Example 3. Saunders, Crimson, mm. 64–8. Example 4. Saunders, Crimson , mm. 305–11. Example 4. Saunders, Crimson, mm. 305–11. Den Boer's approach to dealing with interpretive...
FIGURES
| View All (17)
Journal Article
Journal of Music Theory (2004) 48 (2): 147–218.
Published: 01 October 2004
... classical categories—crisp categories with nec-
essary and sufficient criteria for membership.13 Classical categories par-
tition objects into discrete sets with crisp boundaries; they do not admit
degrees of membership. Classical categories can form (and are essential
to form) class hierarchies...
Journal Article
Journal of Music Theory (2011) 55 (2): 167–220.
Published: 01 October 2011
...
leading point of argument is whether “the music itself”—autonomous struc-
tured sound—is sufficient as an object of analytical inquiry for drawing con-
clusions about the design of a musical work, or whether such inquiry must
necessarily consider biographical and sociocultural factors in order...
Journal Article
Journal of Music Theory (2010) 54 (1): 121–140.
Published: 01 April 2010
... and
crevices, as indigent and distorted as it will appear one day in the messianic
light. To gain such perspectives without velleity or violence, entirely from felt
contact with its objects—this alone is the task of thought. It is the simplest...
Journal Article
Journal of Music Theory (2000) 44 (2): 487–494.
Published: 01 October 2000
... sound only; we hear something in
the sound, something which moves with a force of its own. This inten-
tional object of the musical perception is what I refer to by the word
‘tone,’ and in exploring the relation between sound and tone I shall be
describing the contours of the musical...
Journal Article
Journal of Music Theory (2006) 50 (2): 291–301.
Published: 01 October 2006
...Benjamin Steege Chladni, Ernst Florens Friedrich. 1787 . Entdeckungen über die Theorie des Klanges . Leipzig: Weidmanns Erben und Reich. Daston, Lorraine and Peter Galison. 1992 . “The Image of Objectivity.” Representations 40 : 81 -129. ____. 2007 . Objectivity . New York...
Journal Article
Journal of Music Theory (2017) 61 (1): 59–109.
Published: 01 April 2017
... . Oxford : Oxford University Press . Rorty Richard . 1991 . Objectivity, Relativism, and Truth: Philosophical Papers . Cambridge : Cambridge University Press . Samarotto Frank . 2007 . “Determinism, Prediction, and Inevitability in Brahms's Rhapsody in E♭ major, op. 119, no 4...
Journal Article
Journal of Music Theory (2001) 45 (1): 31–71.
Published: 01 April 2001
... procedure known as en-
largement functions in post-tonal as well as tonal repertoires. Enlarge-
ment occurs when a surface (or near-surface) object (usually an ordered
string of notes) is subsequently “enlarged,” or re-presented in temporally
expanded form. In this way a small and comparatively modest...
Journal Article
Journal of Music Theory (2023) 67 (1): 187–198.
Published: 01 April 2023
... is not meant to be an objective analytical tool but is a subjective one that reveals the location of a focal impulse within one's own body motion. A focal impulse is not determined by “the music itself,” or somehow already “in the music”; it is a motor interpretation of a score that a performer enacts as part...
FIGURES
Journal Article
Journal of Music Theory (2022) 66 (1): 135–145.
Published: 01 April 2022
... on Richard Cohn's ( 2012 : 112) sympathy with, but also objection to, the claim that when analyzing texted music an understanding of the music's structure requires attention to the words. The first chapter, “Tonal Practices,” primarily tackles the important and challenging question of how Hollywood film...
FIGURES
Journal Article
Journal of Music Theory (2020) 64 (1): 137–143.
Published: 01 April 2020
... phenomenology to a radical reinterpreta- tion of Heidegger (with a good dose of Alfred North Whitehead) by offering the notion that there is no separate Dasein for humans as opposed to mere existence for nonsentient beings. He presents object-oriented ontology, or OOO ( triple-O as a way out of this dilemma...
Journal Article
Journal of Music Theory (2005) 49 (1): 1–43.
Published: 01 April 2005
... be developed into a new group of transpositions
(relevant to collections of our new Einheits). In other words, the formal
relationship between i and Ti (and their respective objects) may be repeated
between Ti and TTi (and their respective objects). And so on.
Nevertheless, recursive structuring...
Journal Article
Journal of Music Theory (2016) 60 (2): 295–305.
Published: 01 October 2016
...-
ate certain metaphors is to engage in what he calls “prop-oriented make-
believe.” “Prop,” here, is a technical term for an object that has the function
of “generating fictional truths,” that is, the function of prescribing that some-
thing or other be imagined...
1
