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Journal Article
Journal of Music Theory (1 October 2013) 57 (2): 193–243.
Published: 01 October 2013
...Jeffrey DeThorne Correlating particular instrumental colors with pitch chromaticism, three early twentieth-century scholars demonstrate how a methodical use of colorful winds, less colorful strings, and wind-string mixtures informed actual orchestrational practices. After demonstrating how Wagner’s...
Journal Article
Journal of Music Theory (1 April 2019) 63 (1): 35–70.
Published: 01 April 2019
... Belck Scott . 2008 . “ Lickety Split: Modern Aspects of Composition and Orchestration in the Large Jazz Ensemble Compositions of Jim McNeely: An Analysis of ‘Extra Credit,’ ‘In the Wee Small Hours of the Morning,’ and ‘Absolution .’” DMA diss. , University of Cincinnati . Caplin William...
Journal Article
Journal of Music Theory (1 April 2019) 63 (1): 71–102.
Published: 01 April 2019
... : Norton . Schoenberg Arnold . 1957 . Die formbildenden Tendenzen der Harmonie , translated by Stein Erwin . Mainz : Schott’s Söhne . Schoenberg Arnold . 1960 . “ The Orchestral Variations, op. 31: A Radio Talk ,” translated by Newlin Dika . The Score 27 : 27 – 40...
Journal Article
Journal of Music Theory (1 April 2014) 58 (1): 67–77.
Published: 01 April 2014
... . Analecta musicologica 12 : 253 – 369 . Marpurg Friedrich Wilhelm . 1763 . Kritische Briefe über die Tonkunst . Vol. 2 . Berlin : Friedrich Wilhelm Birnstiel . Mattheson Johann . 1713 . Das Neu-Eröffnete Orchestre . Hamburg : Benjamin Schillers Wittwe . ———. 1721 . Das...
Journal Article
Journal of Music Theory (1 April 2018) 62 (1): 85–118.
Published: 01 April 2018
... Spectrum 39 / 1 : 66 – 82 . van den Toorn Pieter . 1983 . The Music of Igor Stravinsky . New Haven, CT : Yale University Press . Virtanen Timo . 2011 . “ Jean Sibelius’s Late Sketches and Orchestral Fragments .” Supplementary essay to BIS Records BIS-2065: The Unknown Sibelius...
Journal Article
Journal of Music Theory (1 October 2001) 45 (2): 435–456.
Published: 01 October 2001
...- phonic orchestra with its traditional set of instruments automatically ren- ders the realization of that system practicable. On the contrary, in order to use the timbre system in concrete pieces, Penderecki had to subject the orchestral forces to serious changes. The timbre system presupposed an...
Journal Article
Journal of Music Theory (1 April 2010) 54 (1): 75–90.
Published: 01 April 2010
..., “trapped insects” that hover between sound and noise, distinguished by orchestration, registral placement, and the presence or lack of internal movement. As described in “States, Events, Transformations,” two types of clusters carry on a virtual...
Journal Article
Journal of Music Theory (1 October 2018) 62 (2): 205–248.
Published: 01 October 2018
... – 9 . Cambridge, MA: IEEE . Berlioz Hector . 1837 . “ Strauss: Son orchestre, ses walses.—De l’avenir du rhythme .” Journal des débates , November 10 , 1 . Bolton Thaddeus L. 1894 . “ Rhythm .” American Journal of Psychology 6 / 2 : 145 – 238 . Briseux Charles...
Journal Article
Journal of Music Theory (1 October 2012) 56 (2): 225–283.
Published: 01 October 2012
... German- and English-speaking circles. The aged Verdi praised Bellini’s melodies but thought his harmony and orchestration weak (Verdi 1913, 415–16). Wagner, who in 1837 recommended Bellini as a model to German composers, arrived at a more ambivalent opinion in...
Journal Article
Journal of Music Theory (1 April 2016) 60 (1): 51–88.
Published: 01 April 2016
... “poetic” forms and romantic fragments of his earlier songs and instrumental miniatures to the “objective,” classical designs of late-style orchestral works like the Cello Concerto.2 The tendency for critics unenthusiastic about Schu­ mann’s late style to associate...
Journal Article
Journal of Music Theory (1 October 2006) 50 (2): 211–251.
Published: 01 October 2006
... approximates the announced inser- tion. Reinforced by musical convention, the fermata fl  chord, coupled with the onset of a passage lacking orchestral accompaniment and hypermetric regu- larity,15 in effect “announces” the opening of the stereotypical cadenza within or just before the final...
Journal Article
Journal of Music Theory (1 April 2003) 47 (1): 155–214.
Published: 01 April 2003
... closure of the scene. It also effects a dramatic shift from textual to purely musical illustration, when the woman’s (now absent) voice is raised in the orchestral interlude that completes Scene I. The vocal line describes the following pitch sequence: (1) C-A-B≤, (2) G≤-E≤-E≥-D-B, (3) A-B≤- (BA≤, (4...
Journal Article
Journal of Music Theory (1 April 2006) 50 (1): 128–139.
Published: 01 April 2006
...- ling, but verifying them is tedious. In addition, short scores of concerted and orchestral works would have been welcome. (The opera excerpts generally use piano-vocal scores.) To take just one almost random example, the excerpt from Debussy’s...
Journal Article
Journal of Music Theory (1 April 2010) 54 (1): 91–105.
Published: 01 April 2010
Journal Article
Journal of Music Theory (1 April 2006) 50 (1): 77–101.
Published: 01 April 2006
... different orientations (melodic, left- to-right; and harmonic, back-to-front) are in temporal play or interaction, this kind of hearing differs from that of a harmonic reduction of a particular musi- cal work that presents the vertical configurations (say, of an orchestral score) ordered “out of time...
Journal Article
Journal of Music Theory (1 October 2006) 50 (2): 143–179.
Published: 01 October 2006
... of Wisconsin, Madison. ____. 1987 . “Associative Harmony: The Reciprocity of Ideas in Musical Space.” In Theory Only 10 : 31 -64. Tovey, Donald F. 1981 . Essays in Musical Analysis: Symphonies and Other Orchestral Works . Oxford: Oxford University Press. Wagner, Naphtali. 1987...
Journal Article
Journal of Music Theory (1 October 2001) 45 (2): 470–483.
Published: 01 October 2001
... 1911. Eleven graphs—many multiple, multi-leveled, and multi-paged—repre- sent the first movement’s structure, accompanied by explanatory prose; yet Sibelius’s style remains elusive. For instance, no mention is made of the composer’s use of modal suggestion, or his treatment of orchestral...
Journal Article
Journal of Music Theory (1 April 2001) 45 (1): 151–162.
Published: 01 April 2001
... d’Albert. Schenker’s Four Syrian Dances were performed (1904) in an orchestration by Schoenberg at an “orchestral evening” in Berlin, orga- nized by Busoni in cooperation with the Philharmonic (19, n. 37). Al- though he stopped composing around this time, and although there is scarcely any reference to...
Journal Article
Journal of Music Theory (1 April 2005) 49 (1): 181–188.
Published: 01 April 2005
... the Fourth Orchestral Suite’s Bourée II. 3. Beach uses the word “structural” frequently, but to refer to voice leading and prolongational matters rather than formal or tonal design. 4. In the introduction to Five Graphic Music Analyses, Schenker writes: “The pre...
Journal Article
Journal of Music Theory (1 April 2001) 45 (1): 144–150.
Published: 01 April 2001
... passages are not quite parallel, citing the thinner orchestrational texture—the violin and ‘cello play in alternation at the return, rather than in octaves, as they had at the beginning—and 149 pointing to the relatively weak...