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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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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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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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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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Published: 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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Journal Article
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...
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Published: 01 April 2021
Figure 4. Parallel dance cadences mark the ends of the Vordersatz phrases, mm. 126, 137.
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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
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 (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...
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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 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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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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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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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
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 (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 (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. Yale University 2011 Jared C. Hartt is assistant professor of music theory...
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