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Journal Article

Showing Off: Variation in the Display Episodes of Mozart's Piano Concertos

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Roman Ivanovitch
Journal of Music Theory (2008) 52 (2): 181–218.
DOI: https://doi.org/10.1215/00222909-2009-015
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...
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Journal Article

Tiered Polyphony and Its Determinative Role in the Piano Music of Johannes Brahms

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Brent Auerbach
Journal of Music Theory (2008) 52 (2): 273–320.
DOI: https://doi.org/10.1215/00222909-2009-018
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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Figure 8. The basic pattern for an earlier version of Piano Phase.

The basic pattern for an earlier version of Piano Phase .

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in Periodicity-Based Descriptions of Rhythms and Steve Reich's Rhythmic Style > Journal of Music Theory
Published: 01 October 2021
Figure 8. The basic pattern for an earlier version of Piano Phase . More
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Figure 9. The basic material of the final version of Piano Phase.

The basic material of the final version of Piano Phase .

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in Periodicity-Based Descriptions of Rhythms and Steve Reich's Rhythmic Style > Journal of Music Theory
Published: 01 October 2021
Figure 9. The basic material of the final version of Piano Phase . More
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Example 4. Liszt, Piano Sonata in B minor, mm. 105–10 (subordinate theme 1, segment).

Liszt, Piano Sonata in B minor, mm. 105–10 (subordinate theme 1, segment).

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in Topic Theory in Soviet Musicology > Journal of Music Theory
Published: 01 October 2022
Example 4. Liszt, Piano Sonata in B minor, mm. 105–10 (subordinate theme 1, segment). More
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Example 7. Liszt, Piano Sonata in B minor, mm. 8–17.

Liszt, Piano Sonata in B minor, mm. 8–17.

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in Topic Theory in Soviet Musicology > Journal of Music Theory
Published: 01 October 2022
Example 7. Liszt, Piano Sonata in B minor, mm. 8–17. More
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Example 8. Liszt, Piano Sonata in B minor, mm. 153–60 (ST2).

Liszt, Piano Sonata in B minor, mm. 153–60 (ST2).

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in Topic Theory in Soviet Musicology > Journal of Music Theory
Published: 01 October 2022
Example 8. Liszt, Piano Sonata in B minor, mm. 153–60 (ST2). More
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Example 5a. Brahms, Piano Trio no. 2 in C major, op. 87, i, start of exposition

Brahms, Piano Trio no. 2 in C major, op. 87, i, start of exposition

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in Feinting Repeats, Repeating Feints: The Developmental “Double Return” in Brahms and Sonata Theory Typology > Journal of Music Theory
Published: 01 April 2023
Example 5a. Brahms, Piano Trio no. 2 in C major, op. 87, i, start of exposition More
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Example 5b. Brahms, Piano Trio no. 2 in C major, op. 87, i, start of development

Brahms, Piano Trio no. 2 in C major, op. 87, i, start of development

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in Feinting Repeats, Repeating Feints: The Developmental “Double Return” in Brahms and Sonata Theory Typology > Journal of Music Theory
Published: 01 April 2023
Example 5b. Brahms, Piano Trio no. 2 in C major, op. 87, i, start of development More
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Example 6a. Brahms, Piano Trio no. 3 in C minor, op. 101, i, start of exposition

Brahms, Piano Trio no. 3 in C minor, op. 101, i, start of exposition

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in Feinting Repeats, Repeating Feints: The Developmental “Double Return” in Brahms and Sonata Theory Typology > Journal of Music Theory
Published: 01 April 2023
Example 6a. Brahms, Piano Trio no. 3 in C minor, op. 101, i, start of exposition More
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Example 6b. Brahms, Piano Trio no. 3 in C minor, op. 101, i, start of development

Brahms, Piano Trio no. 3 in C minor, op. 101, i, start of development

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in Feinting Repeats, Repeating Feints: The Developmental “Double Return” in Brahms and Sonata Theory Typology > Journal of Music Theory
Published: 01 April 2023
Example 6b. Brahms, Piano Trio no. 3 in C minor, op. 101, i, start of development More
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Example 8a. Haydn, Piano Sonata in D major, Hob. XVI:51 (1794), i, start of exposition

Haydn, Piano Sonata in D major, Hob. XVI:51 (1794), i, start of exposition

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in Feinting Repeats, Repeating Feints: The Developmental “Double Return” in Brahms and Sonata Theory Typology > Journal of Music Theory
Published: 01 April 2023
Example 8a. Haydn, Piano Sonata in D major, Hob. XVI:51 (1794), i, start of exposition More
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Example 8b. Haydn, Piano Sonata in D major, Hob. XVI:51 (1794), i, start of development

Haydn, Piano Sonata in D major, Hob. XVI:51 (1794), i, start of development...

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in Feinting Repeats, Repeating Feints: The Developmental “Double Return” in Brahms and Sonata Theory Typology > Journal of Music Theory
Published: 01 April 2023
Example 8b. Haydn, Piano Sonata in D major, Hob. XVI:51 (1794), i, start of development More
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Example 5. Franz Schubert, Piano Sonata D. 960, i, mm. 1–37. Annotations in brackets indicate aspects specific to its use in Ex Machina, 0:04:19.

Franz Schubert, Piano Sonata D. 960, i, mm. 1–37. Annotations in brackets i...

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in An Eightfold Taxonomy of Harmonic Progressions, and Its Application to Triads Related by Major Third and Their Significance in Recent Screen Music > Journal of Music Theory
Published: 01 April 2023
Example 5. Franz Schubert, Piano Sonata D. 960, i, mm. 1–37. Annotations in brackets indicate aspects specific to its use in Ex Machina , 0:04:19. More
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Example 5. Franz Schubert, Piano Sonata D. 960, i, mm. 1–37. Annotations in brackets indicate aspects specific to its use in Ex Machina, 0:04:19.

Franz Schubert, Piano Sonata D. 960, i, mm. 1–37. Annotations in brackets i...

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in An Eightfold Taxonomy of Harmonic Progressions, and Its Application to Triads Related by Major Third and Their Significance in Recent Screen Music > Journal of Music Theory
Published: 01 April 2023
Example 5. Franz Schubert, Piano Sonata D. 960, i, mm. 1–37. Annotations in brackets indicate aspects specific to its use in Ex Machina , 0:04:19. More
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An “Orbits”-like melody in the piano during the first B section of “Valse Triste” on Footprints Live! (2002).

An “Orbits”-like melody in the piano during the first B section of “Valse T...

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in Orbiting: Wayne Shorter's Ever-Expanding Circles > Journal of Music Theory
Published: 01 October 2024
Example 10. An “Orbits”-like melody in the piano during the first B section of “Valse Triste” on Footprints Live! (2002). More
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Mozart, Sonata for Violin and Piano, K. 301, 1st movement, Secondary Theme; (a) in exposition (mm. 48–57) and (b) in recapitulation (mm. 158–67).

Mozart, Sonata for Violin and Piano, K. 301, 1st movement, Secondary Theme;...

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in Violin Fingerboard Space: Intervallic Mappings from Instrumental Space to Pitch Space > Journal of Music Theory
Published: 01 October 2024
Figure 21. Mozart, Sonata for Violin and Piano, K. 301, 1st movement, Secondary Theme; (a) in exposition (mm. 48–57) and (b) in recapitulation (mm. 158–67). More
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Figure 35. Eight Lines, reh. 17, pianos and strings (a), and the spectrum of the strings' rhythm (b).

Eight Lines , reh. 17, pianos and strings (a), and the spectrum of the stri...

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in Periodicity-Based Descriptions of Rhythms and Steve Reich's Rhythmic Style > Journal of Music Theory
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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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).

Spectra for the signature rhythm and rhythms from Six Pianos , Eight Line...

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in Periodicity-Based Descriptions of Rhythms and Steve Reich's Rhythmic Style > Journal of Music Theory
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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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).

(a) Canon from Music for Eighteen Musicians V (pianos, m. 372). (b) Spect...

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in Periodicity-Based Descriptions of Rhythms and Steve Reich's Rhythmic Style > Journal of Music Theory
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