Search Results for part

...John Roeder Arvo Pärt's strict and elemental compositional procedures, which have been described and evaluated critically by several scholars, are here expressed via a mathematical formalism drawn from theories of musical transformations. The analytical opportunities that this perspective provides...

.... This article introduces a new metric space specifically applicable to such repertoires. The article opens with a brief review of existing metric spaces. Part 1 is an exploratory metric analysis of Afro-Brazilian guitarist Baden Powell’s 1967 recording of “Canto de Xangô,” which motivates the theoretical...

...Brian Alegant This paper proposes a refinement of our understanding of pitch-class inversion in atonal and twelve-tone music. Part I of the essay establishes the theoretical foundation. It reviews the index number approach formulated by Milton Babbitt, examines characteristics of even and odd index...

... models, but recent studies by Karol Berger and Ji-Yeon Lee have shown examples of opera-specific formal types in the music dramas. This article demonstrates Wagner's continued use of one such formal type—lyric form (AABA or AABC)—in five examples from Das Rheingold and Die Walküre . The first part...

...—to systematize and consolidate their ideas and take them in new directions. This study—part conspectus, part interpretation, and part critique—surveys the evolution of topic theory by holistic analysts and their disciples between 1930 and 1990. 32 Medushevsky borrowed at least some of these terms from others...

... and Third Symphonies, the opening movements of the G-minor Piano Quartet and Fourth Symphony, and the Tragic Overture . This common basic principle can nevertheless underpin a variety of formal typologies. Ostensibly a three-part sonata form with developmental double return would be most likely labeled...

...René Rusch Schubert’s Drei Klavierstücke , D. 946 (c. 1828, pub. 1868), raise several questions regarding their compositional genesis and editorial processes. Most peculiar is Schubert’s omission of an entire C section in A♭ major of what was originally to be a five-part rondo form (A–B–A–C...

...Stephen C. Brown Starting in the late 1960s Shostakovich used twelve-tone rows in many of his most significant compositions. These rows usually occur melodically within individual vocal or instrumental parts and function as part of a larger musical fabric that does not otherwise involve twelve-tone...

...Dmitri Tymoczko Part personal reminiscence and part scholarly disquisition, this article discusses some ways in which Stanley Cavell's work has shaped my own thinking and composing. I begin by suggesting that Cavell's overarching goal is to “redeem” traditional philosophy (and secondarily, avant...

... comparison between Roesner’s interpretation of the outer movements of the String Quartet in A minor as examples of deficient two-part expositions and readings of them instead as instances of the continuous type. The first movement of the Second Symphony illustrates that the tonal pairing of the A-minor...

.... Part I provides an account of the rules that generate phonological words and phrases in German, the principles that determine the normal placement of stress in words and phrases, and motivations for the abnormal placement of stress. Part II looks at higher-level, facultative structures in prosodic...