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Journal Article
Journal of Music Theory (2013) 57 (1): 119–129.
Published: 01 April 2013
...: History, Theory, and Practice . Oxford University Press , 2012 : xiv+385 pp. ( $49.95 cloth ) Baragwanath Nicholas The Italian Traditions and Puccini: Compositional Theory and Practice in Nineteenth-Century Opera . Indiana University Press , 2011 : xxiv+407 pp. ( $49.95 cloth...
Journal Article
Journal of Music Theory (2020) 64 (2): 293–296.
Published: 01 October 2020
...Philippa Ovenden Desmond Karen . Music and the Moderni , 1300–1350: The Ars Nova in Theory and Practice . Cambridge University Press , 2018 : xxiii + 300 pp. ( $99.99 ) Copyright © 2020 by Yale University 2020 293 Journal of Music Theory 64:2, October 2020 DOI 10.1215...
Journal Article
Journal of Music Theory (2020) 64 (2): 297–308.
Published: 01 October 2020
...?! Reflections on the 2019 Pedagogy into Practice Conference .” Music Theory Pedagogy Online . jmtp.appstate.edu/conference/past-conferences/2019-santa-barbara-0 . Music Theory Pedagogy Online . 2019a . Pedagogy into Practice 2019—Abstracts . Music Theory Pedagogy Online . jmtp.appstate.edu...
Journal Article
Journal of Music Theory (2013) 57 (1): 159–191.
Published: 01 April 2013
...John Roeder Dmitri Tymoczko A Geometry of Music: Harmony and Counterpoint in the Extended Common Practice. New York: Oxford University Press, 2011: xviii+450 pp. ($39.95 cloth) John Roeder In this impressive work, Dmitri Tymoczko, a talented composer and theo- rist, seeks to...
Journal Article
Journal of Music Theory (2017) 61 (2): 243–287.
Published: 01 October 2017
... chains (P/M, S/P, and S/M), polychords, and reharmonizations. The framework engages in similar voice-leading procedures as other atonal voice-leading practices, and its relations can be generalized to trichord types beyond the consonant triad. Schnittke’s triadic usage has been previously associated with...
Journal Article
Journal of Music Theory (2001) 45 (1): 190–204.
Published: 01 April 2001
...David Neumeyer Schenker's Interpretive Practice Robert Snarrenberg Studies in Music Theory and Analysis vol. 11 New York: Cambridge Univ. Press, 1997 xxiii, 175 pp. 2001 © Yale University, New Haven, Connecticut 06520 2001 of that anxiety is offered by Max Nordau (1849–1923) in a...
Journal Article
Journal of Music Theory (1999) 43 (1): 135–163.
Published: 01 April 1999
...Robert P. Morgan 1999 © Yale University, New Haven, Connecticut 06520 1999 ARE THERE TWO TONAL PRACTICES IN NINETEENTH-CENTURY MUSIC? Robert P. Morgan Article/review of The Second Practice of Nineteenth-Century Tonality, William Kinderman and Harald Krebs...
Journal Article
Journal of Music Theory (2017) 61 (2): 171–200.
Published: 01 October 2017
... terms. Here I present a bottom-up approach, demonstrating that the recapitulation arose as a concatenation between two previously independent practices: the double return of the opening theme in the tonic in the middle of the second half of a two-part form, and the thematic matching between the ends of...
Journal Article
Journal of Music Theory (2018) 62 (1): 85–118.
Published: 01 April 2018
... complex and multifaceted phenomenon, a feature true especially of Sibelius’s later compositions. Sibelius’s tonal practice in Tapiola is based neither on first-practice functional harmony nor on second-practice triadic chromaticism but rather on the use of distinct scale collections and their interaction...
Journal Article
Journal of Music Theory (2010) 54 (1): 107–120.
Published: 01 April 2010
... musical modernism. Cavell's commitment to intentions, his frustration with the preponderance of precompositional schema sustained by rationalized composition, and his preoccupation with the practice of criticism lead him to develop a humanist metaphysics built around the responsibility of third parties to...
Journal Article
Journal of Music Theory (2016) 60 (2): 149–180.
Published: 01 October 2016
... conceptions of harmonic function, but theories rooted in common-practice repertoire nearly always involve chord category to some degree. Separating syntactical and categorical elements not only leads us to a fuller understanding of rock's harmonic idiom, but also reveals similarities between rock music and...
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...
Includes: Supplementary data
Journal Article
Journal of Music Theory (2019) 63 (2): 209–229.
Published: 01 October 2019
... of painting a more complete and analytically adequate picture of actual practices. Its goals are, first, to give an idea of the range of strategies available to composers of the eighteenth and nineteenth centuries and, second, to show how familiarity with these strategies can open a space for new...
Journal Article
Journal of Music Theory (2020) 64 (1): 37–61.
Published: 01 April 2020
...Guy Capuzzo This article examines Elliott Carter’s most extensive forays into the theory and practice of musical silence: the 2005 composition Intermittences and the 1957 lecture “Sound and Silence in Time: A Contemporary Approach to the Elements of Music.” Taken together, the piece and the lecture...
Journal Article
Journal of Music Theory (2020) 64 (2): 147–201.
Published: 01 October 2020
... interventions at the end of the century “fixed” keys into our modern system but obscured the varied pitch structure that still animated musical practice. The messy, flexible circumstances in which keys arose complicate several assumptions about modern key; this evidence challenges notions of transpositional...
Journal Article
Journal of Music Theory (2012) 56 (2): 169–223.
Published: 01 October 2012
... constraints in music. It is argued that the HMM technique draws its power from the ability to identify hidden structures that are important for shaping the musical surface. Thus, HMM-based grammar induction offers a practical, accurate, and methodologically sound tool for fine-grained modeling of musical...
Journal Article
Journal of Music Theory (2013) 57 (2): 193–243.
Published: 01 October 2013
...Jeffrey DeThorne Correlating particular instrumental colors with pitch chromaticism, three early twentieth-century scholars demonstrate how a methodical use of colorful winds, less colorful strings, and wind-string mixtures informed actual orchestrational practices. After demonstrating how Wagner’s...
Journal Article
Journal of Music Theory (2013) 57 (2): 287–320.
Published: 01 October 2013
...Allan Keiler Jean-Philippe Rameau’s understanding of harmony comes to us in the form of a theory that presents many interpretive difficulties. What writers of figured bass manuals were trying to achieve, on the other hand, is often more accessible, though as they go about their practical concerns...
Journal Article
Journal of Music Theory (2014) 58 (1): 25–56.
Published: 01 April 2014
... “structurally insignificant shells of traditional forms.” Reevaluation of Schumann’s expositions reveals both the genuine connections he forges with eighteenth-century practice and the integral role this creative appropriation plays in his distinctive compositional voice. A positive reassessment emerges via...
Journal Article
Journal of Music Theory (2015) 59 (1): 1–61.
Published: 01 April 2015
...Paul Sherrill; Matthew Boyle Italianate recitative of the eighteenth and early nineteenth centuries constituted a distinct musical language that coexisted with the familiar style of common practice music. In this article we propose a theory of that language (“galant recitative”), which we...