1-20 of 191 Search Results for

return

Follow your search
Access your saved searches in your account

Would you like to receive an alert when new items match your search?
Close Modal
Sort by
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...
Journal Article
Journal of Music Theory (2001) 45 (1): 119–143.
Published: 01 April 2001
... in the subtonic; another in the mediant; still others beginning in the domi- nant! Nor are such innovations confined to a youthful daring: Schubert indulged his penchant for beginning the thematic return away from the tonic in sonatas composed throughout his career—from those written as a young teenager...
Journal Article
Journal of Music Theory (2000) 44 (2): 381–450.
Published: 01 October 2000
... increasingly beyond analyses of individual works to- wards broader considerations of rhythm, style, form, and genre; this essay is intended in part as a further contribution to that endeavor. Nonetheless, I think that writers like McClary and Subotnik are on to something, and I will return briefly...
Journal Article
Journal of Music Theory (2000) 44 (1): 1–43.
Published: 01 April 2000
... indicates that attention to the 2a alternative is not fruitless. In mm. 9 and 10, the sixteenth-note figure returns as part of the secondary idea in the dominant key. Here Bach changes the artic- ulation so that the second sixteenth note achieves structural status, as illus- trated in ex. 3. The motivic...
Journal Article
Journal of Music Theory (2011) 55 (2): 221–251.
Published: 01 October 2011
..., the Seitensatz (SS). This is often followed by a transitional Gang leading to the repetition of the Haupt- satz, although as we will see below, the presence of this Gang is often equivo- cal. The third rondo adds a second Seitensatz (SS2) after the first return to the Hauptsatz. The fourth rondo (see...
Journal Article
Journal of Music Theory (2020) 64 (2): 203–240.
Published: 01 October 2020
... for the singular impact of, say, symphonies like the Eroica and Ninth, or Beethoven s music more broadly.14 I return to these points as I proceed with my own analytic engagements. Rather than take up MC function in Brahms s Symphony, Horton fol- lows his MC survey with the above-described analysis of motivic...
Journal Article
Journal of Music Theory (2001) 45 (1): 144–150.
Published: 01 April 2001
... continuity, as suggested by the brackets (e.g., the initial c2-b1 becoming d2-c2-b1, becoming d3-b2 of the second subject), is one aspect of this com- pactness. There is no time, as it were, to wait for the recapitulation to begin on the I: the motivic return starts off before the development has ended...
Journal Article
Journal of Music Theory (2006) 50 (1): 103–110.
Published: 01 April 2006
...- tion of a sonata-form movement that moves to the dominant key in the second half of the exposition, and then returns briefly to the tonic key before moving on to other keys in the development; Beethoven’s Sonata op. 10, no. 3, first movement, is one well-known example. To represent...
Journal Article
Journal of Music Theory (1999) 43 (1): 135–163.
Published: 01 April 1999
... along with this point, the Tristan analy- sis offered does little to support it—at least not for the reasons given. It treats the return of material from both the prelude and “Liebestod” at the close of Act III, where, according to Kinderman, one of the music drama’s principal dramatic issues...
Journal Article
Journal of Music Theory (2000) 44 (2): 451–485.
Published: 01 October 2000
... that closes the B section leads the music to the dominant of E major (m. 63), the main key, which prepares the return of the tonic chord at the beginning of the A2 section. I shall now proceed in a somewhat unusual manner and begin the detailed discussion of the movement from the middle, by looking...
Journal Article
Journal of Music Theory (2016) 60 (1): 1–21.
Published: 01 April 2016
... actually analyzes the return to i with 5ˆ at mm. the piece’s sonata form, though he suggests it here in this 152 as an elaboration of the final tonic, with 1ˆ, at mm. middleground graph, noting that the recapitulation occurs 192–203, thus resolving the 2ˆ over V at m. 122. He thereby over V at m. 135...
Journal Article
Journal of Music Theory (2009) 53 (1): 95–136.
Published: 01 April 2009
... returns, fulfilling our expectation for a more florid variation before closing the first section of the nocturne in B major. So far, the music has a pleasing sensuality, even if slightly innocent. The conventions of the nocturne lead us to hope that the theme will return in the final section...
Journal Article
Journal of Music Theory (2021) 65 (1): 39–80.
Published: 01 April 2021
... of the pattern. 10.1215/00222909-9124726_v65i1_jmt9124726_video1 Video 1. 6257927018001 myVideo1 To return to my description of the on-1 dance basic, then, three steps are taken in each half of the eight-count pattern (on counts 1-2-3 and 5-6-7), resulting in a “quick-quick-slow” dance rhythm...
FIGURES | View All (16)
Journal Article
Journal of Music Theory (2000) 44 (2): 323–379.
Published: 01 October 2000
... 329 form is its inherent binary structure. As Figure 6 shows, each iteration of the cycle is made up of complementary halves. This reflects the alterna- tion of processes or states related by binary opposition: up versus down, tension versus relaxation, in versus out, departure versus return. We ob...
Journal Article
Journal of Music Theory (2019) 63 (2): 209–229.
Published: 01 October 2019
... is paradigmatic: The recapitulation starts with the return of the first theme in the tonic. The rest of this section recapitulates the exposition as it 211Jonathan Guez Recapitulatory Tonal Alterations 3 It is as if our position has been that, since the recapitula­ tion is tonic prolonging, there can...
Journal Article
Journal of Music Theory (2002) 46 (1-2): 347–363.
Published: 01 October 2002
... not, in any event, write that mixture was “one way that Schenker accounted for chromaticism”—those are Rothstein’s words, not mine (pace And with one qualification (to which I will return in a moment), the explanation I give in the next sentence of the well- known table of the mixed major/minor mode...
Journal Article
Journal of Music Theory (2002) 46 (1-2): 364–368.
Published: 01 October 2002
... called mixture,” an assertion that seems to me unassailable. I do not, in any event, write that mixture was “one way that Schenker accounted for chromaticism”—those are Rothstein’s words, not mine (pace And with one qualification (to which I will return in a moment), the explanation I give...
Journal Article
Journal of Music Theory (2005) 49 (2): 301–332.
Published: 01 October 2005
... No Evil” (Table 3b), which also presents two statements (mm. 11–14) of A7-5 B≤m7, a nonfunctional, nondiatonic progression. The A7-5 is a surface elaboration acting as an accented neighbor chord to the B≤m7 chord, which itself is a neighbor chord mov- ing from and returning to tonic...
Journal Article
Journal of Music Theory (2019) 63 (2): 231–260.
Published: 01 October 2019
...-in to the verse. From here, the core of the performance alter- nates between a twelve-bar verse and a sixteen-bar chorus. Toward the end of the recording, Baden and Copinha improvise together, playing in open form.14 Fifty-two bars later Baden returns to the verse as Copinha continues his improvisation...
Journal Article
Journal of Music Theory (2021) 65 (1): 81–106.
Published: 01 April 2021
... by their alignment of grouping and meter. I return to this point in both of the following sections. Image 2a. “Vienna” from the 1698 edition of Henry Playford's Dancing Master . Image 2a. “Vienna” from the 1698 edition of Henry Playford's Dancing Master. Image 2b. “Vienne” from Raoul-Auger...
FIGURES | View All (17)