.... 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. 1993...

...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...

.... 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...

... 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...

... 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...

... 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...

... 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...

... 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. His...

... 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 professor...

... 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...

... 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 downbeat of m. 9, the begin- 42...

... “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 interesting and...

... compositional output, David 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...

... 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...

.... Putnam, Hilary. 1981 . Reason, Truth and History . Cambridge: Cambridge University 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...

... . 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...

... 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 breve at the close of...

... 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...

... 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 compressed...

..., 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...