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Published: 01 October 2023
Example 12. Verses 4–6. The I 6 chord in m. 20 is eliminated in the second phrase, perhaps to accommodate the new melody; cr = cross-related F♯/F; the zigzag dotted line shows the splice by which the third musical phrase is different from the second, where D replaces the expected F.
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Image
Ruth Brown, “It's All for You” (1951). ABB´ poetic form and 7,6,5 phrase rh...
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in The Transformation of Prewar Blues into Postwar Rhythm and Blues: The Great Migration, Urbanization, and Form
> Journal of Music Theory
Published: 01 October 2023
Example 6. Ruth Brown, “It's All for You” (1951). ABB´ poetic form and 7,6,5 phrase rhythm, with interior rhymes in the A line (underlined) and refrain fragments, labeled r, in the B lines. (a) Third verse (1:14). (b) Second verse (0:37).
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Image
(a) The slow phrase in thirds from “Ornette,” at sounding pitch. (b) The sl...
Available to PurchasePublished: 01 April 2024
Figure 2. (a) The slow phrase in thirds from “Ornette,” at sounding pitch. (b) The slow phrase in thirds (0:06–0:10) from “Congeniality” by Ornette Coleman, off of the 1959 album The Shape of Jazz to Come , also at sounding pitch. The players in both transcriptions are indicated by initials: RM
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Phrase structure and hypermetric analysis of Grupo Niche's “Cali pachanguer...
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in Flipped, Broken, and Paused Clave : Dancing through Metric Ambiguities in Salsa Music
> Journal of Music Theory
Published: 01 April 2021
Figure 5. Phrase structure and hypermetric analysis of Grupo Niche's “Cali pachanguero.”
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Image
Phrase structure and hypermetric analysis of Grupo Niche's “Cali pachanguer...
Available to Purchase
in Flipped, Broken, and Paused Clave : Dancing through Metric Ambiguities in Salsa Music
> Journal of Music Theory
Published: 01 April 2021
Figure 5. Phrase structure and hypermetric analysis of Grupo Niche's “Cali pachanguero.”
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Journal Article
End-Accented Phrases: An Analytical Exploration
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Journal of Music Theory (2003) 47 (1): 125–154.
Published: 01 April 2003
..., Robert. 1988 . A Classic Turn of Phrase: Music and the Psychology of Convention . Philadelphia: University of Pennsylvania Press. Imbrie, Andrew. 1973 . “`Extra' Measures and Metrical Ambiguity in Beethoven.” In Beethoven Studies , edited by Alan Tyson, 45 -66. New York: Norton. Kamien, Roger...
Image
Published: 01 April 2021
Figure 4. Parallel dance cadences mark the ends of the Vordersatz phrases, mm. 126, 137.
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Ruth Brown, “Mend Your Ways” (1953, by Leroy Kirkland and Lincoln Chase), f...
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in The Transformation of Prewar Blues into Postwar Rhythm and Blues: The Great Migration, Urbanization, and Form
> Journal of Music Theory
Published: 01 October 2023
Example 14. Ruth Brown, “Mend Your Ways” (1953, by Leroy Kirkland and Lincoln Chase), fourth verse (1:26). AB/CD/R(E/F) poetic form and 8,8,7 phrase rhythm. The second phrase replicates the “Caldonia”-like phrase structure and rhyme placement of the first.
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Journal Article
Toward a Predictive Theory of Theme Types
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Journal of Music Theory (2020) 64 (1): 1–36.
Published: 01 April 2020
... as formulated by William Caplin. This article proposes a framework for modeling expectation at the theme and phrase level. This is premised on the idea that conventional beginning-ending pairs condition listeners to expect certain endings when they hear certain beginnings. An expansion of Caplin’s categories...
Journal Article
Punctuation and Sense in Late-Eighteenth-Century Music
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Journal of Music Theory (2010) 54 (2): 235–282.
Published: 01 October 2010
...Danuta Mirka Two closely interrelated techniques of phrase expansion occasionally used by eighteenth-century composers but so far not recognized by music theorists are twisted caesuras and overridden caesuras . Both of them represent complex games played by composers with their listeners on two...
Journal Article
On the Prosody of German Lyric Song
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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
Galant Recitative Schemas
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Journal of Music Theory (2015) 59 (1): 1–61.
Published: 01 April 2015
... characterize in terms of a core vocabulary of fifteen melodic formulas. Appendix 1 presents a roster of these formulas, which captures a unique fingerprint of recitative, distinct from the comparable inventory of homophonic phrase schemas in Robert Gjerdingen’s Music in the Galant Style . These recitative...
Journal Article
Characteristic Tonality in the Balletti of Gastoldi, Morley, and Hassler
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Journal of Music Theory (2015) 59 (2): 235–271.
Published: 01 October 2015
... of Morley's balletts reveals four primary “Englishing” techniques. First, Morley establishes and confirms tonic more thoroughly than the Italians do. Second, the dominant chord plays a larger role in Morley's balletts, often yielding predictive statement-response phrase structures. Third, Morley uses pre...
Image
Howlin' Wolf, “(Well) That's All Right” (1952), third verse (1:23). (a) ABR...
Available to Purchase
in The Transformation of Prewar Blues into Postwar Rhythm and Blues: The Great Migration, Urbanization, and Form
> Journal of Music Theory
Published: 01 October 2023
Example 5. Howlin' Wolf, “(Well) That's All Right” (1952), third verse (1:23). (a) ABR—or AA/BB/R—poetic form and 7,7,5 phrase rhythm. (b) Hypothetical version with 5,5,5 phrase rhythm.
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Ray Charles, “Lonely Avenue” (1956, by Doc Pomus). AB/R(CD/EFr) poetic form...
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in The Transformation of Prewar Blues into Postwar Rhythm and Blues: The Great Migration, Urbanization, and Form
> Journal of Music Theory
Published: 01 October 2023
Example 15. Ray Charles, “Lonely Avenue” (1956, by Doc Pomus). AB/R(CD/EFr) poetic form and 8,8,6 phrase rhythm. The “Caldonia”-like opening is transposed to the second phrase and the vocal responses fuse with the caesuras.
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Little Richard, “Tutti Frutti” (1955, Richard Penniman and Dorothy LaBostri...
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in The Transformation of Prewar Blues into Postwar Rhythm and Blues: The Great Migration, Urbanization, and Form
> Journal of Music Theory
Published: 01 October 2023
Example 16. Little Richard, “Tutti Frutti” (1955, Richard Penniman and Dorothy LaBostrie). AB/AB/CD poetic form and 7,7,8 phrase rhythm. The last phrase is “Caldonia”-like, with tonic harmony, a break, and rhymes in positions 4 and 8.
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Image
Fats Domino, “She's My Baby” (1950, by Antoine Domino and Dave Bartholomew)...
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in The Transformation of Prewar Blues into Postwar Rhythm and Blues: The Great Migration, Urbanization, and Form
> Journal of Music Theory
Published: 01 October 2023
Example 4. Fats Domino, “She's My Baby” (1950, by Antoine Domino and Dave Bartholomew). (a) AAB poetic form and 7,7,7 phrase rhythm with textual extensions shown with dotted underlines. (b) Hypothetical version with 5,5,5 phrase rhythm and no textual extensions.
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Journal Article
Schemata, Splices, and Elisions in Monteverdi's Book 5 Madrigals
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Journal of Music Theory (2023) 67 (2): 251–284.
Published: 01 October 2023
...Example 12. Verses 4–6. The I 6 chord in m. 20 is eliminated in the second phrase, perhaps to accommodate the new melody; cr = cross-related F♯/F; the zigzag dotted line shows the splice by which the third musical phrase is different from the second, where D replaces the expected F. ...
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Journal Article
The Transformation of Prewar Blues into Postwar Rhythm and Blues: The Great Migration, Urbanization, and Form
Available to Purchase
Journal of Music Theory (2023) 67 (2): 285–331.
Published: 01 October 2023
...Example 6. Ruth Brown, “It's All for You” (1951). ABB´ poetic form and 7,6,5 phrase rhythm, with interior rhymes in the A line (underlined) and refrain fragments, labeled r, in the B lines. (a) Third verse (1:14). (b) Second verse (0:37). ...
FIGURES
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Journal Article
Metrical Dissonance and Directed Motion in Paderewski's Recordings of Chopin's Mazurkas
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Journal of Music Theory (2009) 53 (1): 57–94.
Published: 01 April 2009
... and dissonance are proposed, including a distinction between two types of intensification processes (graduated and terraced). Paderewski's performance practices are shown to greatly enhance (or even to introduce) intensification processes that span entire phrases or sections, and to highlight the arrival...
View articletitled, Metrical Dissonance and Directed Motion in Paderewski's Recordings of Chopin's Mazurkas
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for article titled, Metrical Dissonance and Directed Motion in Paderewski's Recordings of Chopin's Mazurkas
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