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Journal Article
Journal of Music Theory (2007) 51 (1): 5–49.
Published: 01 April 2007
... principles, Heinichen works through the many tensions and contradictions between the modern Klang progression, as formalized in the Rule of the Octave, and the old legacy of traditional counterpoint instruction. 2007 2007 Ludwig Holtmeier teaches music theory at the Hochschule für Musik...
Journal Article
Journal of Music Theory (2013) 57 (1): 47–85.
Published: 01 April 2013
... can give analyses considerable flexibility, but this flexibility presents challenges to rule systems and in particular to Lerdahl and Jackendoff’s Metrical Well-Formedness Rules. Two paradigms from cognitive linguistics are used to address this: radial structuring as a way of organizing prototype...
Journal Article
Journal of Music Theory (2012) 56 (2): 169–223.
Published: 01 October 2012
... style. As a concrete illustration, this article builds a formal grammar of rhythm for the Palestrina style. The grammar’s structure and components are carefully explained, and the formalism is compared with existing approaches to style characterization. Many traditional counterpoint rules are shown...
Journal Article
Journal of Music Theory (2007) 51 (1): 51–83.
Published: 01 April 2007
... of music, and their practice bestowed on practitioners a fluency in composition unparalleled since then. The Neapolitan masters usually recommended different stages of realization, from the simplest ( con le sole consonanze ) to highly elaborate textures. The rules for the realization of partimenti have...
Journal Article
Journal of Music Theory (2018) 62 (1): 41–84.
Published: 01 April 2018
... and defining patterns and suggests that deriving the schemata from underlying principles may be a step toward validating them. Further, it highlights the significance of invertible counterpoint and explores the relations between the schemata’s soprano skeletons and the Rule of the Octave, which is presumably...
Journal Article
Journal of Music Theory (2010) 54 (2): 235–282.
Published: 01 October 2010
...” level of processing, related to consciousness, in that it plays with rules of Tonordnung —the part of eighteenth-century music theory dealing with succession of ending formulas. Consequently, it was addressed mainly to connoisseurs ( Kenner ). Phrase expansions caused by overridden and twisted caesuras...
Journal Article
Journal of Music Theory (2013) 57 (2): 287–320.
Published: 01 October 2013
... they often reveal surprisingly little of what they really understood, or reveal it indirectly or haphazardly, in the realm of harmony (the concept of triadic inversion, e.g.). In response to these difficulties, this article proposes a structuralist-synchronic framework for interpreting the rules of figured...
Journal Article
Journal of Music Theory (2014) 58 (2): 103–154.
Published: 01 October 2014
.... Part I provides an account of the rules that generate phonological words and phrases in German, the principles that determine the normal placement of stress in words and phrases, and motivations for the abnormal placement of stress. Part II looks at higher-level, facultative structures in prosodic...
Journal Article
Journal of Music Theory (2007) 51 (1): 137–159.
Published: 01 April 2007
.... This article focuses first on some significant witnesses of this era (Fedele Fenaroli and Emanuele Imbimbo, who followed the school of Francesco Durante) and then on an interpretation of the traditionally nonverbal rules of partimenti proposed by François-Joseph Fétis. 2007 2007 Rosa Cafiero...
Journal Article
Journal of Music Theory (2009) 53 (2): 305–328.
Published: 01 October 2009
... rewarding, as it turns today’s listener from a passive consumer into an active partner of the eighteenth-century composer in a game played with the compositional rules of the time” (xi). The statements quoted above embody a tension between two goals...
Journal Article
Journal of Music Theory (1999) 43 (1): 83–99.
Published: 01 April 1999
... with a presumably correct formulation of the syntactic rules I follow (according to Chomskian grammar, say), I am virtually certain to have no “Aha!” experience, no sense of recognition.7 On the other hand, some mentalistic descriptions are immediately recog- nizable to me—such as, “I believe that Bill Clinton...
Journal Article
Journal of Music Theory (2007) 51 (1): 85–135.
Published: 01 April 2007
... presupposes knowledge of the rules of the har- mony, control of contrapuntal voices, and especially a presence of mind and powers of concentration which make it possible, at a glance, to engage a com- plex fabric of voices and to envisage...
Journal Article
Journal of Music Theory (2005) 49 (1): 1–43.
Published: 01 April 2005
... 5 provided in each network: the label for the deleted middle arrow follows by entailment from the relevant group combination rules and is unneces- sary for determining appropriate automorphism.4 The particular arrange- ment of the trichords in J2 through J8 primarily aims to show structural...
Journal Article
Journal of Music Theory (2003) 47 (1): 1–39.
Published: 01 April 2003
.... Bruner, Jerome. 1977 . “The Ontogenesis of Speech Acts.” In Social Rules and Social Conduct , ed. P. Collett. The Hague: Mouton. Burkholder, J. Peter. 1995 . All Made of Tunes: Charles Ives and the Uses of Musical Borrowing . New Haven: Yale University Press. ____. 1995 . “Musical Borrowing...
Journal Article
Journal of Music Theory (2017) 61 (1): 59–109.
Published: 01 April 2017
...’: Kinds of Rules in Schenker's ‘Counterpoint.’” Journal of Music Theory 34 / 2 : 291 – 340 . Duerksen Marva . 2008 . “Schenker's Organicism Revisited.” Intégral 22 : 1 – 58 . Emerson Ralph Waldo . 2010 . Self-Reliance, the Over-Soul, and Other Essays . Claremont, CA...
Journal Article
Journal of Music Theory (2003) 47 (2): 273–304.
Published: 01 October 2003
... Karl Braunschweig Music considered as an art does nothing else than to enhance the charac- teristics of natural melody and to seek in the nature of the matter itself rules by whose observance melody becomes more perfect.1 (Kirnberger [1771–79] 1982, 281) This passage, which appears...
Journal Article
Journal of Music Theory (2007) 51 (1): 161–186.
Published: 01 April 2007
..., instead instilling in the pupil an aware- ness of the natural and inflexible canons of Harmony, i.e. the Rule of the Octave, the origin of the harmonized scale from the three fundamental and immutable triads embodying the tonality, the proper tendencies of tones...
Journal Article
Journal of Music Theory (2020) 64 (2): 297–308.
Published: 01 October 2020
... to SmartMusic for providing lunch for the conference attendees!) Sport and music, for all that they have in common with respect to train- ing and performance, differ in their uses and needs for creative material. Each game and contest is unique, given its rules, and players have a lot of moment- to-moment...
Journal Article
Journal of Music Theory (2022) 66 (1): 63–91.
Published: 01 April 2022
... theoretical justification for all progressions (as in, e.g., fundamental bass theory). In Robert O. Gjerdingen's ( 2019 : 249) words, the Parisian pedagogical tradition taught students “a rich repertoire of harmonic contexts without claiming that there was one progression to rule them all.” In addition...
Journal Article
Journal of Music Theory (2001) 45 (2): 345–433.
Published: 01 October 2001
...: An Approach to Lerdahl & Jackendoff's Grouping Preference Rules.” Music Perception 4/4 : 325 -360. ____. 2001 . “Introduction: Similarity Perception ↔ Categorization ↔ Cue Abstraction.” Music Perception 18/3 : 233 -243. Forte, Allen. 1973 . The Structure of Atonal Music . New Haven: Yale...