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Journal Article
Journal of Music Theory (2008) 52 (2): 181–218.
Published: 01 October 2008
...Roman Ivanovitch The article examines a group of closing gestures in Mozart's piano concertos, passages of soloistic virtuosity just before the last tuttis of the exposition and recapitulation. Serving as grand cadential clinchers and clothed in conventional figuration, these spots—sometimes called...
Journal Article
Journal of Music Theory (2008) 52 (2): 273–320.
Published: 01 October 2008
... cycles. Strictly tiered polyphony figures prominently in Brahms's piano music, where it lends passages an aura of extreme drive and inexorability. Importantly, awareness of this texture can provide insights into Brahms's works unavailable through conventional approaches. The analytical portion...
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Published: 01 October 2021
Figure 8. The basic pattern for an earlier version of Piano Phase . More
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Published: 01 October 2021
Figure 9. The basic material of the final version of Piano Phase . More
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Published: 01 October 2022
Example 4. Liszt, Piano Sonata in B minor, mm. 105–10 (subordinate theme 1, segment). More
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Published: 01 October 2022
Example 7. Liszt, Piano Sonata in B minor, mm. 8–17. More
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Published: 01 October 2022
Example 8. Liszt, Piano Sonata in B minor, mm. 153–60 (ST2). More
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Published: 01 October 2021
Figure 35. Eight Lines , reh. 17, pianos and strings (a), and the spectrum of the strings' rhythm (b). More
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Published: 01 October 2021
Figure 33. Spectra for the signature rhythm and rhythms from Six Pianos , Eight Lines , Sextet iv, Electric Counterpoint ii, and the “Difficult” canon from The Desert Music , proportionally scaled. Values are normalized by power (the sum of squared magnitudes). More
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Published: 01 October 2021
Figure 17. (a) Canon from Music for Eighteen Musicians V (pianos, m. 372). (b) Spectra for the rhythm of the dyads (2-3-2-5) and the canon configuration (2-2-8). (c) The canon on dyads only, and the resultant rhythm appearing at m. 382 (marimbas, piano, voices). More
Journal Article
Journal of Music Theory (2012) 56 (1): 53–86.
Published: 01 April 2012
...–A) in the first piano piece. Scholars have noted this revision, acknowledging Brahms’s role as the anonymous editor of these pieces. Yet why Schubert crossed out this entire section in the manuscript remains unanswered. Focusing on the first two Klavierstücke , since both occur within the same manuscript...
Journal Article
Journal of Music Theory (2016) 60 (1): 51–88.
Published: 01 April 2016
..., and a heuristic framework of dialectical topics derived from late-style criticism. Comparison with several of Schumann's chamber works in A minor, and with his Piano Concerto, underscores the technical refinements of the Cello Concerto. These comparisons also suggest that Schumann may have composed in something...
Journal Article
Journal of Music Theory (2013) 57 (2): 193–243.
Published: 01 October 2013
... orchestration of the “Rondo alla Zingarese” from Brahms’s G-minor Piano Quartet matches “indirectly related” harmonies with vivid wind and percussion colors and “closely related” harmonies with string-centered sonorities. Jeffrey DeThorne earned his Ph.D. at the University of Wisconsin-Madison. His...
Journal Article
Journal of Music Theory (2014) 58 (1): 25–56.
Published: 01 April 2014
... sonata forms on a case-by-case basis with the same urgency as with his classical precursors. Even in a two-part exposition like that of the finale of the Piano Trio in F major, Schumann finds effective means to merge classical conventions with dialectical tonal strategies. I am grateful to James...
Journal Article
Journal of Music Theory (2015) 59 (2): 191–234.
Published: 01 October 2015
... String Quartet and the first movement of the Sonata for Violin and Piano, showing how we can relate Shostakovich's aggregate melodies to their musical surroundings in a deeper and more detailed way. Stephen C. Brown is associate professor of music theory and coordinator of music theory...
Journal Article
Journal of Music Theory (2015) 59 (2): 273–320.
Published: 01 October 2015
... and the emergence of a group structure, whose generators—named transpositio and transformatio —are also characteristic musical motions and relations. The proposed analytical methodology is probed in a couple of short pieces of Bartók's Mikrokosmos and in the third movement of his Piano Sonata. The article argues...
Journal Article
Journal of Music Theory (2016) 60 (2): 97–148.
Published: 01 October 2016
... as always comparative and context dependent. Illustrating these claims, repertoires of Viennese string quartet minuets and piano pieces by Chopin are analyzed. Christopher Brody is assistant professor of music theory at the Eastman School of Music. His research focuses on baroque music, keyboard...
Journal Article
Journal of Music Theory (2016) 60 (2): 181–212.
Published: 01 October 2016
... level, aligned-cycle families. To conclude, I reexamine a three-voice aligned cycle from the second movement of Berg's String Quartet, op. 3, and investigate cyclic progressions in Thomas Adès's Piano Quintet, Lieux retrouvés , and The Tempest . Aligned-Cycle Spaces...
Journal Article
Journal of Music Theory (2020) 64 (2): 241–281.
Published: 01 October 2020
... in E ♭ major, D. 899, and Piano Sonata in B ♭ major, D. 960, demonstrate the analytic potential of modal spelled pitch class and the eight types of coordinated transpositions. While previous transformational theories have shed light on third relations in Schubert’s harmony (Cohn 1999), modal spelled...
Journal Article
Journal of Music Theory (2006) 50 (1): 77–101.
Published: 01 April 2006
... Fanny Mendelssohn Hensel's setting of Bach's “Das alte Jahr” in the concluding “Nachspiel” of her piano song cycle, Das Jahr , as suggesting interactions of public and private sonic worlds. I follow potential tonal-harmonic alternatives (after Schoenberg and Berg on the chorale) and implications...