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Journal Article
Journal of Music Theory (2019) 63 (1): 71–102.
Published: 01 April 2019
... to translations by Schoenberg himself, members of his circle, and later commentators, the author examines liquidation alongside “dissolution” ( Auflösung ), “obligations,” and “obligatory” forms. While the received interpretation of the term emphasizes the elimination or removal of features, the sources reveal...
Journal Article
Journal of Music Theory (2010) 54 (1): 107–120.
Published: 01 April 2010
... attempt to lay out some basic differences in their philosophies of music. Broadly speaking, while both describe an ethical obligation directed at mod- ernist practices, Cavell’s commitment to intentions, his frustration with ratio- nalized...
Journal Article
Journal of Music Theory (2017) 61 (1): 59–109.
Published: 01 April 2017
..., as did Kant and his philosophical progeny, is to show how action itself—which presupposes the agent’s power to take on responsibilities and obligations, to assess the correctness of conduct, and to hold certain considerations to be decisive—entails subordination to norms of deliberation...
Journal Article
Journal of Music Theory (2001) 45 (2): 470–483.
Published: 01 October 2001
... without the formal obligations of a treatise to constrain his imagination. Thus, the intellectual journeys of a prodigious mind are reflected in Ein Beitrag Zur Ornamentik (1904, rev. 1908), the commentaries of the Erläuterungsausgaben (1909, 1913, 1914, 1915, 1920), the ten issues of Der Tonwille...
Journal Article
Journal of Music Theory (2010) 54 (1): 61–74.
Published: 01 April 2010
... is not atypical. As anthropologists from Marcel Mauss on have observed, gifts oblige reciprocity. The donation of something of value generally requires that the donor receive something of equal or greater value in return (Mauss 1990; Hyde 1979; Godelier 1996; Komter 2005). However...
Journal Article
Journal of Music Theory (2000) 44 (1): 231–236.
Published: 01 April 2000
... continued, in itself, the term modernism implies neither praise nor blame and in- volves no obligation whatsoever. That is precisely its weakness. The word eludes us, hiding under any application of it one wishes to make.5 One suspects that he would have found Cross’s elaborate circumlocu- tions...
Journal Article
Journal of Music Theory (2021) 65 (2): 287–323.
Published: 01 October 2021
.... While a lyric form is clearly discernable in Wotan's monologue, its large number of unusual features suggests that the teleological framework of lyric form does not accommodate everything that Wotan wants to say. His true communicative purpose lies less in the official declaration that he is obligated...
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Journal Article
Journal of Music Theory (2011) 55 (2): 265–270.
Published: 01 October 2011
... by his conviction that only a radical shift in listening habits could support a musical culture worthy of the name. Halm saw the obligations and options inherent in fugue as analogous to the needs and desires of individuals, whereas those inherent in the sonata 1  “Es ist jene sichere...
Journal Article
Journal of Music Theory (2001) 45 (1): 151–162.
Published: 01 April 2001
... wrote in 1919 to Walter Dahms (an enthusiastic reader who renounced his own earlier hermeneutics after studying Schenker’s work—see pp. 87–96), that Otto Vrieslander “would draw false conclusions from my teachings if he felt, on the basis of the homily of the genius, obliged to believe...
Journal Article
Journal of Music Theory (2017) 61 (2): 171–200.
Published: 01 October 2017
... transition” “is given an intense, expanded treatment. . . . The hermeneutic obligation is to explain why” (237), indicat- ing that this is to be viewed as a deformation of more conservative rework- ings of transition material. Likewise, their “historically aware hypothesis” explaining the deflection...
Journal Article
Journal of Music Theory (2001) 45 (1): 190–204.
Published: 01 April 2001
... that intention (“synthesis,” ch. 3), and finally to making claims about the world’s obligation to acknowledge the truth- value of that synthesis and its implications for cultural and social organi- zation (“participation”; ch. 4). This agenda accounts for one of the disconcerting qualities of this book...
Journal Article
Journal of Music Theory (2011) 55 (1): 89–146.
Published: 01 April 2011
... has offered therewith an artistic example, which, he thinks, frees him from the obligation of bringing in a living quotation!” (HL, 227/176).12 Just as he criticizes Richter’s textbook for failing to relate theory to actual music, so Schenker criticizes...
Journal Article
Journal of Music Theory (2006) 50 (1): 111–127.
Published: 01 April 2006
... orthography. 118 Journal of Music Theory obliges one to explore and construct multiple apperceptual contexts for any given sounding phenomenon; there is no single GIS or transformational net- work that is appropriate to a given musical stimulus.15 Lewin...
Journal Article
Journal of Music Theory (2001) 45 (1): 73–118.
Published: 01 April 2001
... instance in which successive voices are arranged in intervals sharing an identical direction. If this follows the ‘regular’ pattern for stacked canons, of rising from bottom to top, there was no obligation to do so (compare the stacked subset employed in the second ‘Agnus Dei,’ whose canonic parts...
Journal Article
Journal of Music Theory (2010) 54 (1): 121–140.
Published: 01 April 2010
..., or even as transcendental forms of life or of cognition. It has sought to demon- strate that, for Adorno and Cavell, this leap is a site of ethics, both because the world is insufficient as a ground for ethical action and relation, and because of an ethical obligation to that which lies...
Journal Article
Journal of Music Theory (1999) 43 (1): 165–190.
Published: 01 April 1999
... to find poten- tial riches despite reservations. I appreciate this contribution. The review fails at the outset, however, to fulfill one critical aspect of a reviewer’s obligation—that of reportage. Reviews are expected to pro- vide readers with an overview of a book’s perspectives, as well...
Journal Article
Journal of Music Theory (2003) 47 (2): 273–304.
Published: 01 October 2003
.... He viewed dissonance as oblig- ation, necessity, while consonance was relatively free to move as the com- poser wished. C. P. E. Bach also defined consonance and dissonance using the cate- gories of freedom and necessity,22 although with insightful flexibility to allow for contexts in which...
Journal Article
Journal of Music Theory (2001) 45 (1): 31–71.
Published: 01 April 2001
...”) enjoy the greatest congruence across structural levels. Nonetheless, he is obliged to invoke the idea of “apparency” to account for different pars- ings at more surface levels.7 In other words, in order to preserve the match, the fit has to change. While this situation might seem irregular...
Journal Article
Journal of Music Theory (2010) 54 (1): 37–60.
Published: 01 April 2010
..., but on attraction 13  This scorn is formulated with particular harshness from and promise, your invitation incurs the most exacting of the political extremes of modernism, whether it be Ezra obligations: that every...
Journal Article
Journal of Music Theory (2021) 65 (2): 239–285.
Published: 01 October 2021
...- and early seventeenth-century polyphony. Occasionally, however, the analyst may come across uses where both notes are stable. These outliers generally result from harmonic expediency or the obligations of exact imitation. In the phrase from Gesualdo's setting of “Deh, come invan sospiro” shown in Example...
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