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Journal Article
Journal of Music Theory (2003) 47 (2): 305–323.
Published: 01 October 2003
...Jean-Paul C. Montagnier HEAVENLY DISSONANCES: THE CADENTIAL SIX-FOUR CHORD IN FRENCH GRANDS MOTETS AND RAMEAU’S THEORY OF THE ACCORD PAR SUPPOSITION Jean-Paul C. Montagnier By the 1620s, French musicians seem...
Journal Article
Journal of Music Theory (2017) 61 (1): 59–109.
Published: 01 April 2017
..., 1:187) to derive the conclusion that absolutism is compulsory (on par with Kant’s con- stitutivist arguments that purport to deduce moral obligations from the ratio- nal and autonomous nature of humanity) is an interesting and important question...
Journal Article
Journal of Music Theory (2016) 60 (2): 295–305.
Published: 01 October 2016
Journal Article
Journal of Music Theory (2007) 51 (1): 137–159.
Published: 01 April 2007
... composer correctement tout espece de musique.... Ouvrage composé dans les principes des conservatoires d'Italie, mis dans l'ordre le plus simple et le pous clair...; traduit de l'italien par M. Framery . Paris: Le Duc. Bertini, Giuseppe. 1814 -15. Dizionario storico-critico degli scrittori di musica...
Journal Article
Journal of Music Theory (2012) 56 (2): 121–167.
Published: 01 October 2012
... Birnstiel . Martin Nathan John . 2009 . “ Rameau and Rousseau: Harmony and History in the Age of Reason .” Ph.D. diss. , McGill University . Montagnier Jean-Paul C. 2003 . “ Heavenly Dissonances: The Cadential Six-Four in French grands motets and Rameau’s Theory of the accord par...
Journal Article
Journal of Music Theory (2000) 44 (2): 261–322.
Published: 01 October 2000
... for measuring time . . . was established.”24 At that time, “it was concluded that the perfect measure, the measure par excellence, must be that which . . . contains the value of the whole note divided into two or four beats.”25 This conceptual framework of the perfect measure, Fétis continued, caused...
Journal Article
Journal of Music Theory (2005) 49 (1): 141–180.
Published: 01 April 2005
... ce court passage, sage, we find ourselves in the same on se retrouve dans le même ton key by which we just entered it, par où l’on vient d’y entrer, sans almost without being able to com- qu’on puisse presque comprendre prehend how we have been able to comment...
Journal Article
Journal of Music Theory (2008) 52 (1): 159–180.
Published: 01 April 2008
... embellies par la melodie et les teneurs, trebles et contreteneurs du chant de la musique artificiele. Et neantmoins est chascune de ces deux plaisant a ouir par soy” (Natural music is delightful, and embel- lished by the melody and the tenors, trebles...
Journal Article
Journal of Music Theory (1999) 43 (1): 21–82.
Published: 01 April 1999
... partitions might be projected simultaneously, through different fea- tures of the musical texture—some way of organizing collections of par- titions is necessary. This paper develops the formalities necessary to organize certain collections of partitions into what we shall call partition lattices...
Journal Article
Journal of Music Theory (2001) 45 (1): 204–227.
Published: 01 April 2001
... Schenker makes his idea clear when he states, in par. 206, that in a merely apparent Zug “there is no harmonic relationship between the point of departure and the final tone.” Clearly, then, “a harmonic relationship” is a necessary, if not always a sufficient, requirement for a true Zug. Why Schenker did...
Journal Article
Journal of Music Theory (2007) 51 (1): 3–4.
Published: 01 April 2007
... to surmount. A theme-and-variations movement by Rosa Cafiero looks at different scenes in the transition of par- timenti from Naples to Paris, from oral tradition to textbook. Finally, a Wag- nerian march by Gaetano Stella takes the partimento well into the world of Romantic harmony. By the way...
Journal Article
Journal of Music Theory (2016) 60 (1): 89–95.
Published: 01 April 2016
... through the fifth. But there are five diatonic modes in which such a composing out is possible (diatonic in present-day par- lance), not just the major and minor modes that Schenker alludes to. Schen- ker’s (1978; 1954, 55–76) claim is explicable only in light...
Journal Article
Journal of Music Theory (2007) 51 (1): 85–135.
Published: 01 April 2007
... of Europe’s largest collections of music-pedagogical works from the ­eighteenth- and early-nineteenth-century conservatories of Naples. Those 88 Journal of Music Theory manuscripts formed the background for one of Fellerer’s early essays on par- timenti...
Journal Article
Journal of Music Theory (2008) 52 (1): 3–8.
Published: 01 April 2008
... à la Renaissance. Colloque organisé par la Fondation Royaumont en coproduction avec l'ARIMM (Association pour la recherche et l'interprétation des musiques médiévales et le Centre national de la recherche scientifique) . Asnières-sur-Oise: Royaumont, 29 -30. ____. 1987c . “Line...
Journal Article
Journal of Music Theory (2000) 44 (1): 127–169.
Published: 01 April 2000
... of this time- honored compositional resource takes place within the context of various aesthetic paradigms and the conceptual models that these theorists ad- vance in order to codify and transmit the sound-world ideals of these par- adigms.7 Koch’s Satzlehre, a theory of phrase concatenation and group...
Journal Article
Journal of Music Theory (2006) 50 (2): 291–301.
Published: 01 October 2006
... to the particular histori- cal context under consideration in the present book. As Jackson notes (6), the notion of the natural scientist as Kulturträger, or “bearer of culture,” a term introduced by the influential reformist physician and progressive par...
Journal Article
Journal of Music Theory (2018) 62 (1): 155–164.
Published: 01 April 2018
..., memorably, that “some- standard, in his view. Nicholas Cook (2001, par. 22) uses thing is strikingly absent from this [analysis-and-performance] the term page-to-stage to refer to this unidirectional para- literature...
Journal Article
Journal of Music Theory (2002) 46 (1-2): 285–345.
Published: 01 October 2002
... of partitions, recog- nizing what has yet to be heard. Indeed, this is not the point of the all-par- tition array, just as counting to twelve is not the point of hearing aggre- gates. The desired goal is the construction of a long string of aggregates, each with a different partitional shape...
Journal Article
Journal of Music Theory (2013) 57 (2): 433–449.
Published: 01 October 2013
... d’oeuvres d’Anton Webern par Pierre Boulez. Essai de reconstitution .” Thesis , Université de Montréal . ———. 2001 . Les écrits et la carrière de Pierre Boulez: Catalogue et chronologie . Unpublished manuscript, Ph.D. diss. , Université de Montréal . Glock William , ed. 1986 . Pierre...
Journal Article
Journal of Music Theory (2011) 55 (2): 253–264.
Published: 01 October 2011
... of Brahms, should so explicitly place rhythm and meter at the very center of their creative activity. Perhaps we should take their words as an incentive, when working with song in general and Lieder in par- ticular, to bring rhythmic and metric matters closer to the center of our own analytical...