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Journal Article
Journal of Music Theory (1 April 2003) 47 (1): 125–154.
Published: 01 April 2003
.... Gjerdingen, 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...
Journal Article
Journal of Music Theory (1 April 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 (1 October 2015) 59 (2): 235–271.
Published: 01 October 2015
... 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 (1 October 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 (1 October 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 (1 October 2008) 52 (2): 181–218.
Published: 01 October 2008
... phrases, and an affinity for textural exploration come to the fore. These elements constitute a display of compositional virtuosity that is a counterpart to the more evident performative fireworks. Yale University 2008 Roman Ivanovitch is assistant professor of music theory at Indiana University...
Journal Article
Journal of Music Theory (1 October 2010) 54 (2): 179–234.
Published: 01 October 2010
... may contribute to our 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. Yale University 2011 Jared C. Hartt is assistant...
Journal Article
Journal of Music Theory (1 April 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 (1 April 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...
Includes: Supplementary data
Journal Article
Journal of Music Theory (1 April 2018) 62 (1): 41–84.
Published: 01 April 2018
... 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.” Copyright © 2018 by Yale University 2018...
Journal Article
Journal of Music Theory (1 April 2003) 47 (1): 41–101.
Published: 01 April 2003
... unfolding of the aggregate takes place 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...
Journal Article
Journal of Music Theory (1 October 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 in...
Journal Article
Journal of Music Theory (1 April 2008) 52 (1): 123–149.
Published: 01 April 2008
... of the gesture and the phrase (1999, 141). Unlike his contemporary, Guido of Arezzo, Hermannus uses species of fourths, fifths, and octaves to describe mode in his Musica. Guido, in his Micrologus, first describes the four modes and their affinities according to the grouping of tones and...
Journal Article
Journal of Music Theory (1 April 2006) 50 (1): 65–76.
Published: 01 April 2006
... 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 to...
Journal Article
Journal of Music Theory (1 October 2006) 50 (2): 181–210.
Published: 01 October 2006
... concentrate on events that divide the two expositions into smaller units, for example, phrase endings, cadences, modulations, and boundaries of prolonged harmonies. The dramatic arch of an exposition consists, among other things, of these kinds of articulating events...
Journal Article
Journal of Music Theory (1 October 2000) 44 (2): 261–322.
Published: 01 October 2000
... . Traité de mélodie. Abstraction faite de ses rapports avec l'harmonie .... 2d ed. Paris: S. Richault. Rosen, Charles. 1995 . The Romantic Generation . Cambridge: Harvard University Press. Rothstein, William. 1989 . Phrase Rhythm in Tonal Music . New York: Schirmer Books. Rousseau, Jean...
Journal Article
Journal of Music Theory (1 April 1999) 43 (1): 165–190.
Published: 01 April 1999
... forward motion established by the phrase structure of these 18 bars (mm. 396–413), wherein the melodic and/or motivic groupings continually shorten by a factor of 2, from 4-2-1-1/2 bar sets. (See Ep- stein, Example 8.1f, p. 235, and the discussion, 234–35.) Added to this mix is the change to alla...
Journal Article
Journal of Music Theory (1 April 2006) 50 (1): 103–110.
Published: 01 April 2006
... tonal ones. The chorale falls clearly into six two-measure phrases, which present an interesting network of melodic connections (see Example 4). Phrases 1 and 2 (henceforth P1 and P2) are melodically the same, P3 is contrasting, P4 starts...
Journal Article
Journal of Music Theory (1 April 2003) 47 (1): 155–214.
Published: 01 April 2003
... wonderful music—supremely wonderful—if only because in every phrase there is undreamt-of originality—and, most miraculous of all: this infinite abundance compressed into the smallest space and thus of a concentration without its equal in music. . . .2 Berg’s metaphor of an “infinite abundance...
Journal Article
Journal of Music Theory (1 October 2000) 44 (2): 323–379.
Published: 01 October 2000
..., phrase structure, and form. These conventional mappings are the everyday metaphors of music—cross- domain mappings that are carried out easily and unconsciously by expe- rienced listeners. Understanding how tonal convention reflects bodily expe- rience can give us insight into the novel metaphorical...