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rotational form

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Journal Article
Journal of Music Theory (2017) 61 (2): 171–200.
Published: 01 October 2017
...Yoel Greenberg This article investigates the sources of the recapitulation using statistical methods. The recapitulation has traditionally been viewed as an expansion of small ternary forms, resulting in a top-down approach, whereby the repeat of expositional material is explained in rotational...
Journal Article
Journal of Music Theory (2020) 64 (2): 203–240.
Published: 01 October 2020
... Warren . 2001 . “ Rotational Form, Teleological Genesis, and Fantasy-Projection in the Slow Movement of Mahler’s Sixth Symphony .” Nineteenth-Century Music 25 , no. 1 : 49 – 74 . Daverio John . 1994 . “ From ‘Concertante Rondo’ to ‘Lyric Sonata’: A Commentary on Brahms’s...
Journal Article
Journal of Music Theory (2003) 47 (1): 41–101.
Published: 01 April 2003
... and Haydn's Operas.” In Joseph Haydn: Bericht über den Internationalen Joseph Haydn Kongress, Wien, Hofburg , 5.-12 . September 1982. Munich: G. Henle Verlag, 91 -100. CHROMATICISM, FORM, AND EXPRESSION IN HAYDN’S STRING QUARTET OP. 76, NO. 6...
Journal Article
Journal of Music Theory (2015) 59 (2): 273–320.
Published: 01 October 2015
.... © 2015 by Yale University 2015 Béla Bartók Mikrokosmos Piano Sonata polymodality polytonality diatonicism chromaticism scale theory rotational form Works Cited Antokoletz Elliot . 1984 . The Music of Béla Bartók: A Study of Tonality and Progression in Twentieth Century Music...
Journal Article
Journal of Music Theory (2016) 60 (2): 181–212.
Published: 01 October 2016
....13 After the 1-cycle is rotated to its midpoint (six semitones), retrograde-inverted (RI) forms of AC classes II–VI appear. That is, the pitch-class sets of AC classes II′–VI′ (located on the left) are related by RI0 to II–VI on the right. To show the RI0...
Journal Article
Journal of Music Theory (2019) 63 (1): 103–138.
Published: 01 April 2019
... . Darcy Warren . 2001 . “ Rotational Form, Teleological Genesis, and Fantasy-Projection in the Slow Movement of Mahler’s Sixth Symphony .” Nineteenth-Century Music 25 , no. 1 : 49 – 74 . Daverio John . 1994 . “ From ‘Concertante Rondo’ to ‘Lyric Sonata’: A Commentary on Brahms’s...
Journal Article
Journal of Music Theory (2014) 58 (1): 25–56.
Published: 01 April 2014
...Peter H. Smith Commentators have traditionally judged Schumann’s sonata forms negatively, despite recent positive reassessments. In the response to Schumann’s expositions, even two of his most insightful advocates, Linda Correll Roesner and Anthony Newcomb, portray Schumann’s designs as...
Journal Article
Journal of Music Theory (2016) 60 (2): 97–148.
Published: 01 October 2016
...Christopher Brody All theories of structure in tonal music must balance the competing claims to priority of multiple musical parameters. Most prominently, the study of tonal form has long concerned itself with how to reconcile the at times contradictory demands of thematic design and tonal...
Journal Article
Journal of Music Theory (2019) 63 (2): 231–260.
Published: 01 October 2019
... conflicting relationships contribute to deeper interpretations of musical form. None of the metric spaces proposed to date is well suited to Afrodiasporic popular musics, which characteristically tend to pose regularly uneven metric foregrounds against rigid and recursively even metric backgrounds. This...
Journal Article
Journal of Music Theory (2009) 53 (1): 1–56.
Published: 01 April 2009
... movement of the Second Symphony op. 73, and the last two movements of the Second String Quartet op. 51/2. These analyses also suggest correspondences in these movements between metric relationships and relationships of key, harmony, and form. Yale University 2009 Scott Murphy is an Associate...
Journal Article
Journal of Music Theory (2011) 55 (1): 1–41.
Published: 01 April 2011
... are demonstrated by attributing the melodic and harmonic structures of complete pieces— Fratres, Passio , and The Beatitudes —to the interaction of a very small set of transformations. This representation reveals similarities of form as well as of process among them. It also shows how Pärt's signature...
Journal Article
Journal of Music Theory (2010) 54 (1): 75–90.
Published: 01 April 2010
... artwork and audience in an era that demands an unprecedented trust in the musical object. It thus engages its audience in its own critical project, in an open dialogue with traditional forms and functions. Both works suggest that modernist music can escape the cycle of justification between the musical...
Journal Article
Journal of Music Theory (2013) 57 (2): 383–418.
Published: 01 October 2013
... ‘Concertante Rondo’ to ‘Lyric Sonata’: A Commentary on Brahms’s Reception of Mozart .” In Brahms Studies , ed. Brodbeck David , 111 – 38 . Lincoln : University of Nebraska Press . Davis Andrew Pollack Howard . 2007 . “ Rotational Form in the Opening Scene of Gershwin’s Porgy and Bess...
Journal Article
Journal of Music Theory (2000) 44 (2): 451–485.
Published: 01 October 2000
... therefore consists of an unusual accumulation of tension toward the great outburst following m. 195. Example 10 shows two coexisting formal principles operating in the Ballade—sonata form and rotations—as well as the work’s principal key areas. (I have taken the word “rotation” from James Hepokoski...
Journal Article
Journal of Music Theory (2007) 51 (2): 187–210.
Published: 01 October 2007
.... ____. 2006 . “Hexatonic Poles and the Uncanny in Parsifal.” Opera Quarterly 22 : 230 -48. Darcy, Warren. 1994 . “The Metaphysics of Annihilation: Wagner, Schopenhauer, and the Ending of the `Ring.' ” Music Theory Spectrum 16 : 1 -40. ____. 2001 . “Rotational Form, Teleological Genesis, and...
Journal Article
Journal of Music Theory (2015) 59 (2): 191–234.
Published: 01 October 2015
... . 1989 . “Présence et négation du dodécaphonisme dans les dernières oeuvres de Chostakovitch.” Analyse musicale 17 : 31 – 37 . Lofthouse Charity . 2014 . “Rotational Form and Sonata-Type Hybridity in the First Movement of Shostakovich's Fourth Symphony.” Ph.D. diss. , City University...
Journal Article
Journal of Music Theory (1999) 43 (2): 349–358.
Published: 01 October 1999
..., although the music of the final movement was “conceived and composed around and on a text,” Berg “knew that this text [in the sixth movement] would not form part of the final version of the work” and that “he intended even the role of the text in the composi- tional process to remain a secret” (49...
Journal Article
Journal of Music Theory (2004) 48 (1): 69–98.
Published: 01 April 2004
...: Yale University Press. ____. 1985 . “Tonal Analogues as Atonal Resources and Their Relation to Form in Debussy's Chromatic Etude.” Journal of Music Theory 29/1 : 33 -60. Pearsall, Edward and Schaffer, John Wm. 2005 . “Shape/Interval Contours and Their Ordered Transformations: A Motivic...
Journal Article
Journal of Music Theory (2019) 63 (2): 261–267.
Published: 01 October 2019
... Journal of the Music Theory Society of the Mid-Atlantic 2 , no. 1 , article 1. trace.tennessee.edu/gamut/vol2/iss1/1 . Doll Christopher . 2011 . “ Rockin’ Out: Expressive Modulation in Verse-Chorus Form ” Music Theory Online 17 . doi.org/ 10.30535/mto.17.3.3 . Harrison Daniel...
Journal Article
Journal of Music Theory (2001) 45 (1): 31–71.
Published: 01 April 2001
... procedure known as en- largement functions in post-tonal as well as tonal repertoires. Enlarge- ment occurs when a surface (or near-surface) object (usually an ordered string of notes) is subsequently “enlarged,” or re-presented in temporally expanded form. In this way a small and comparatively modest...