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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 (2022) 66 (1): 1–42.
Published: 01 April 2022
...David E. Cohen Abstract This article explores the advent of two foundational characteristics of the modern concept of harmony inaugurated by Rameau's Traité de l'harmonie (1722): first, that its principal objects are sonorities of three or more distinct pitch classes, that is, consonant...
FIGURES
Journal Article
Journal of Music Theory (2003) 47 (2): 363–369.
Published: 01 October 2003
...Alexander Rehding Musical Representations, Subjects, and Objects: The Construction of Musical Thought in Zarlino, Descartes, Rameau, and Weber Jairo Moreno Indiana University Press, 2004 xii+232 pp. 2003 © Yale University, New Haven, Connecticut 06520 2003 Bent, Ian. (Ed.) 1993...
Journal Article
Journal of Music Theory (2005) 49 (1): 141–180.
Published: 01 April 2005
...Alexander Rehding © 2008 by Yale University 2008 Barzun, Jacques, and Ralph H. Bowen. 1956 . Rameau's Nephew and Other Works . Indianapolis and Cambridge: Hackett. Berger, Karol. 1980 . Theories of Chromatic and Enharmonic Music in Late Sixteenth Century Italy . Ann Arbor: UMI...
Journal Article
Journal of Music Theory (2007) 51 (1): 5–49.
Published: 01 April 2007
... of the neo-Ramellian Harmonielehre tradition. The differences are exemplified by comparing Rameau's basse fondamentale with Heinichen's fluctuating understanding of tonality. It was Heinichen who, at the start of the eighteenth century, attempted most thoroughly to conceptualize Italian music theory. Like...
Journal Article
Journal of Music Theory (2012) 56 (2): 121–167.
Published: 01 October 2012
...Nathan John Martin The precise sense of Jean Philippe Rameau’s conception of supposition is among the more vexing questions that his theorizing poses. Supposition has been interpreted, on the one hand, as an account of ninth and eleventh chords and, on the other, as a means of explaining melodic...
Journal Article
Journal of Music Theory (2003) 47 (2): 305–323.
Published: 01 October 2003
...Jean-Paul C. Montagnier 2003 © Yale University, New Haven, Connecticut 06520 2003 d'Alembert, Jean Le Rond. 1779. Élémens de musique théorique et pratique, suivant les principes de M. Rameau [1752], Nouvelle edition. Lyon: Jean-Marie Bruyset Père & Fils. Repr. Plan-de-La-Tour...
Journal Article
Journal of Music Theory (2007) 51 (1): 85–135.
Published: 01 April 2007
...-Philippe Rameau, but that study neither advanced his compositional abilities nor later shielded him from the scorn of Rameau himself. Had Rousseau found a master of the then fashionable Italian style of music, he would have studied exercises in partimenti and solfeggi . Solfeggi were studies for voice...
Journal Article
Journal of Music Theory (2022) 66 (2): 147–187.
Published: 01 October 2022
... on the subdiscipline's past, present, and future. [email protected] Copyright © 2022 by Yale University 2022 history of music theory Abū Nasr Muhammad ibn al-Farakh al-Fārābī Jean-Philippe Rameau musica speculativa global history Hugo Riemann Despite the ritualized invocation of Aristotle...
Journal Article
Journal of Music Theory (2022) 66 (1): 43–62.
Published: 01 April 2022
... , however, was not present. English theorists initially used locutions such as the true and proper base (Herissone 2000 : 132, 136), and around the 1720s they turned to the term fundamental , as Rameau's influence spread that term and its etymological kin across wide swaths of Western Europe. In fact...
FIGURES
Journal Article
Journal of Music Theory (2022) 66 (1): 63–91.
Published: 01 April 2022
... in the French Enlightenment in general and Rameau's work in particular. Borrowing Gjerdingen's Tolkien allusion quoted above, in this tradition there indeed was “one progression to rule them all.” For the music to be “correct,” it had to be reducible to an acceptable fundamental bass built on progressions...
FIGURES
Journal Article
Journal of Music Theory (2018) 62 (2): 205–248.
Published: 01 October 2018
... Science: Hearing , edited by Plack Christopher , 71 – 104 . Oxford : Oxford University Press . Christensen Thomas . 1993 . Rameau and Musical Thought in the Enlightenment . Cambridge : Cambridge University Press . Cohen David E. 2001 . “ The ‘Gift of Nature’: Musical...
Journal Article
Journal of Music Theory (2003) 47 (2): 273–304.
Published: 01 October 2003
..., Ernst. 1951 . The Philosophy of the Enlightenment . Translated by Fritz C. A. Koelln and James P. Pettegrove. Princeton: Princeton University Press. Christensen, Thomas. 1993 . Rameau and Musical Thought in the Enlightenment . Cambridge: Cambridge University Press. ____. 1998 . “C. P. E...
Journal Article
Journal of Music Theory (2021) 65 (1): 171–183.
Published: 01 April 2021
... of acoustics, as Rameau had attempted to demonstrate, because it was fundamentally gnostic and freely selected. 5 Equally flawed in his eyes were systems based on arithmetic progressions and the chromatic scale (Georg Andreas Sorge, Abbé Vogler), an “arbitrary choice of fundamental chords” (Anton Reicha...
Journal Article
Journal of Music Theory (2012) 56 (2): 293–298.
Published: 01 October 2012
... of
well-ordered topics (to be discussed below), rather than chronologically or by
author, Damschroder references the writings of ninety-five theorists of vari-
ous national backgrounds, ranging from works by well-known authors such
as Jean-Philippe Rameau, Johann...
Journal Article
Journal of Music Theory (2003) 47 (1): 215–222.
Published: 01 April 2003
... as chromatic 248–50). This is true, and it provides fur-
ther support for one of my main points, which I made largely with refer-
ence to Robert Snarrenberg’s article “Schenker.” As with Rameau or Rie-
mann, it is misleading to speak of “Schenker’s theory” as a unitary or
static phenomenon. Harmonielehre...
Journal Article
Journal of Music Theory (2006) 50 (2): 291–301.
Published: 01 October 2006
... by Yale University 291
292 Journal of Music Theory
Rond d’Alembert or Jean-Philippe Rameau and these later figures—the book
is valuable not least on the level of dispensing basic historical information.
However, Jackson’s real...
Journal Article
Journal of Music Theory (2024) 68 (1): 149–155.
Published: 01 April 2024
... experience. To be sure, all these depend on pitches—the only element directly visible in a notated score. But pitch is never what is at issue, any more than his use of individual words can account for Shakespeare or a particular brand of oil paint for Van Gogh. Yet for all that Rameau looked to Corelli...
Journal Article
Journal of Music Theory (2003) 47 (2): 225–272.
Published: 01 October 2003
... or sentiment in the text,16 the dissonant
chain originates from an early seventeenth-century technique of exten-
sion through repetition of cadential figures—of what Rameau appropri-
ately called “avoiding cadences while imitating them.”17 This technique
is illustrated in simple strict-contrapuntal terms...
Journal Article
Journal of Music Theory (2000) 44 (1): 100–126.
Published: 01 April 2000
...., Columbia University. ———. 2000 . “Hugo Riemann's Debut as a Music Theorist.” Journal of Music Theory 44 /1: 81 -98. Rameau, Jean-Philippe. 1971 [1722]. Treatise on Harmony , trans. P. Gossett. New York: Dover. Riemann, Hugo. 1873 . “ Ueber das musikalische Hören .” Ph.D. diss...
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