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Published: 01 October 2021
Figure 28. The vibraphone part from Sextet iv (a) and its spectrum with those of the two canonic configurations (b). More
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Published: 01 October 2022
Example 14. Whitehead, Taurangi , p. 7, second system (flute part only). More
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Published: 01 October 2022
Example 15. Whitehead, Taurangi , p. 11, fourth system (flute part only). More
Journal Article
Journal of Music Theory (2011) 55 (1): 1–41.
Published: 01 April 2011
...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...
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Published: 01 October 2021
Figure 4. The rhythms of first two parts of Music for Pieces of Wood (a and b) and a different truncation of the first rhythm (c). More
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Published: 01 October 2023
Example 6. Lutosławski's “Dzwony cerkiewne,” Iłłakowicz Songs : end of the first and beginning of the second parts, mm. 220–29. More
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Published: 01 October 2023
Appendix Example 2-2. CM schemata in “O primavera” (book 3, no. 11, mm. 62–69; the quinto and canto parts, shown in parentheses, are typical doublings in parallel). More
Journal Article
Journal of Music Theory (2019) 63 (2): 231–260.
Published: 01 October 2019
.... 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...
Journal Article
Journal of Music Theory (2021) 65 (2): 287–323.
Published: 01 October 2021
... 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...
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Journal Article
Journal of Music Theory (2022) 66 (2): 189–222.
Published: 01 October 2022
...—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. Zuckermann offers a slightly different take on these measures...
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Journal Article
Journal of Music Theory (2023) 67 (1): 71–98.
Published: 01 April 2023
... 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...
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Journal Article
Journal of Music Theory (2012) 56 (1): 53–86.
Published: 01 April 2012
...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...
Journal Article
Journal of Music Theory (2015) 59 (2): 191–234.
Published: 01 October 2015
...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...
Journal Article
Journal of Music Theory (1999) 43 (2): 193–230.
Published: 01 October 1999
...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...
Journal Article
Journal of Music Theory (2017) 61 (2): 171–200.
Published: 01 October 2017
... terms. Here I present a bottom-up approach, demonstrating that the recapitulation arose as a concatenation between two previously independent practices: the double return of the opening theme in the tonic in the middle of the second half of a two-part form, and the thematic matching between the ends...
Journal Article
Journal of Music Theory (2010) 54 (1): 5–23.
Published: 01 April 2010
...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...
Journal Article
Journal of Music Theory (2014) 58 (1): 25–56.
Published: 01 April 2014
... 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...
Journal Article
Journal of Music Theory (2014) 58 (2): 103–154.
Published: 01 October 2014
.... 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...
Journal Article
Journal of Music Theory (2021) 65 (1): 107–137.
Published: 01 April 2021
... collaborators, Enrico Cecchetti, Antonietta Dell'Era, Lev Ivanov, and Marius Petipa, respond to and participate in these metrical dissonances. The first part of the article defines metrical dissonance, the processes that transform it, and the related but distinct phenomenon of metric type. The second part...
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Journal Article
Journal of Music Theory (2006) 50 (1): 103–110.
Published: 01 April 2006
... structure and the factors that govern our perception of it. I begin by considering one of Bach's four-part harmonizations of the chorale and then turn to the chorale prelude itself. © 2008 by Yale University 2008 David Temperley is associate professor of theory at Eastman School of Music. His...