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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.” Figure 5. Phrase structure and hypermetric analysis of Grupo Niche's “Cali pachanguero.”
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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.” Figure 5. Phrase structure and hypermetric analysis of Grupo Niche's “Cali pachanguero.”
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Journal Article
Journal of Music Theory (2003) 47 (1): 125–154.
Published: 01 April 2003
..., and Leonard B. Meyer. 1960 . The Rhythmic Structure of Music . Chicago: University of Chicago Press. Georgiades, Thrasybulos. 1951/ 1977 . “Zur Musiksprache der Wiener Klassiker.” In Kleine Schriften , 33 -43. Tutzing: Schneider. Gjerdingen, Robert. 1988 . A Classic Turn of Phrase: Music...
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Published: 01 April 2021
Figure 4. Parallel dance cadences mark the ends of the Vordersatz phrases, mm. 126, 137. Figure 4. Parallel dance cadences mark the ends of the Vordersatz phrases, mm. 126, 137.
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Journal Article
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
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 (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
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...
Journal Article
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
Journal of Music Theory (2008) 52 (2): 181–218.
Published: 01 October 2008
...) and by contemporary usage (Sisman, Agawu); the specific invocation of it in connection with the display episodes is suggested initially by their characteristic bipartite format. Seen through the variation lens, elements such as contrapuntal ingenuity, complex modular arrangements within and between phrases...
Journal Article
Journal of Music Theory (2010) 54 (2): 179–234.
Published: 01 October 2010
... current understanding of motet chronology. An analysis of several passages from Motet 4 illustrates how the proposed nomenclature may offer a more nuanced understanding of musical syntax, particularly at phrase endings. Apel, Willi. 1959 . “Remarks about the Isorhythmic Motet.” In Les Colloques de...
Journal Article
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...
Includes: Supplementary data
Journal Article
Journal of Music Theory (2013) 57 (1): 87–118.
Published: 01 April 2013
... of each segment, phrase, and period), cadential hemiolas emerge as consonant agents, in the large rhetorical scheme of things. These hemiolas, which intensify the end-accented beats, assert the notated meter, not the metrical displacement. In so doing, they either reinforce the basic metrical premise...
Journal Article
Journal of Music Theory (2018) 62 (1): 41–84.
Published: 01 April 2018
... on connections between schematic skeletons and statistical learning research. Finally, it offers an analytical application to the opening phrase of Mozart’s aria “Dies Bildnis ist bezaubernd schön,” which is briefly compared to Niccolò Piccinni’s “Una povera ragazza.” Works Cited Aerts Hans . 2017...
Journal Article
Journal of Music Theory (2021) 65 (1): 11–16.
Published: 01 April 2021
... and phrasing. Copyright © 2021 by Yale University 2021 meter phrasing microrhythm hypermeter Figure 1. Music theorists tend to conceive of beats as points separated by spans (numbers above). Dancers tend to conceive of beats as spans separated by points (numbers in boxes). Figure 1...
FIGURES
Journal Article
Journal of Music Theory (2003) 47 (1): 41–101.
Published: 01 April 2003
... gradually through the Menuetto proper, so that the entire sec-
tion—itself a ternary form—constitutes a single chromatic field. Two of
the five chromatics occur in the first part (mm. 1–16): pc 9, AΩ, marks the
close of the first phrase and pc 4, EΩ, on the downbeat of m. 9, the begin-
42
Example 1...
Journal Article
Journal of Music Theory (2008) 52 (1): 123–149.
Published: 01 April 2008
... Hiley describes Hermannus’s com-
positional elaboration of his theoretical species of fourths, fifths, and octaves
through the emphasis of the primary tones (final, fifth, and octave) at the
level of the gesture and the phrase (1999, 141). Unlike his contemporary,
Guido of Arezzo, Hermannus uses...
Journal Article
Journal of Music Theory (2005) 49 (2): 209–239.
Published: 01 October 2005
...: JULIAN
“CANNONBALL” ADDERLEY’S
“STRAIGHT, NO CHASER”
Karim Al-Zand
When jazz musicians improvise, they engage in at least two interre-
lated thought processes. On one hand, they present their own musical
ideas, attempting to spin out phrases...
Journal Article
Journal of Music Theory (2006) 50 (1): 65–76.
Published: 01 April 2006
... for things past.
The melody and tonality of “Das alte Jahr” are among the most curious
in the chorale repertoire. Beginning on A minor, the music moves strongly
to D minor at several spots. One naturally considers this to be a dominant-
tonic relationship in D minor, but the final phrase leads...
Journal Article
Journal of Music Theory (2006) 50 (2): 181–210.
Published: 01 October 2006
... Press. Rosen, Charles. 1988 . Sonata Forms , rev. ed. New York: Norton. Rothstein, William. 1981 . Rhythm and the Theory of Structural Levels . Ph.D. diss., Yale University. ____. 1989 . Phrase Rhythm in Tonal Music . New York: Schirmer Books. ____. 1995 . “Analysis and the Act...
