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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 (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 (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 (2004) 48 (2): 147–218.
Published: 01 October 2004
... 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 or taxonomies, in which every class at every...
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
... 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 musical object can develop into a larger entity of considerable...
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...
Journal Article
Journal of Music Theory (2013) 57 (2): 193–243.
Published: 01 October 2013
... of Musical Aesthetics ([1890] 1895) Riemann contrasts the less colorful, more sympathetic human chest voice and classical string orchestra with the more colorful, less sympathetic objective sounds often employed in program music. While string instruments create a more homo- geneous, “easily...
Journal Article
Journal of Music Theory (2010) 54 (1): 61–74.
Published: 01 April 2010
... that the artist’s intentions were of little matter in aesthetic judgment, Cavell countered that art’s significance was not to be located solely in its “objective” characteristics, but in the affective investments made by art- ists and audiences alike: “Objects of art not merely interest and absorb, they move...
Journal Article
Journal of Music Theory (2014) 58 (2): 257–263.
Published: 01 October 2014
... pow- erfully illustrates how a transformational view can reveal the conjunction of manifold relationships embodied in, or tangent upon, a given object—in this case the climactic A5 of the theme—while also drawing on and informing insights from...
Journal Article
Journal of Music Theory (2014) 58 (2): 235–256.
Published: 01 October 2014
... of these, but it is only the third of these implications that is inherently interesting, in music- theoretical terms, and therefore the only one I address here. Immediately striking is the degree of agreement between all varieties of the reanimated theory and its precursor as to what the proper objects...
Journal Article
Journal of Music Theory (2019) 63 (2): 167–207.
Published: 01 October 2019
..., two solid objects may be regarded as equivalent if by twisting, squeezing, wrinkling, etc. (but not cutting or joining) one can be deformed into the same shape as the other. Thus two objects of dissimilar appearance, such as a doughnut and an LP record, may be topologically equivalent. An important...