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Published: 01 October 2021
Example 2. Das Rheingold , scene 2: Fasolt, “Was du bist” (71, 1, 3–71, 3, 5). Das Rheingold , scene 2: Fasolt, “Was du bist” (71, 3, 6–72, 1, 6). More
Image
Published: 01 October 2021
Example 2. Das Rheingold , scene 2: Fasolt, “Was du bist” (71, 1, 3–71, 3, 5). Das Rheingold , scene 2: Fasolt, “Was du bist” (71, 3, 6–72, 1, 6). More
Image
Published: 01 October 2021
Example 3. Das Rheingold , scene 2: Loge, “In Tiefen und Höhen” (79, 1, 1–79, 3, 3). Das Rheingold , scene 2: Loge, “In Tiefen und Höhen” (79, 3, 4–79, 4, 5). More
Image
Published: 01 October 2021
Example 3. Das Rheingold , scene 2: Loge, “In Tiefen und Höhen” (79, 1, 1–79, 3, 3). Das Rheingold , scene 2: Loge, “In Tiefen und Höhen” (79, 3, 4–79, 4, 5). More
Image
Published: 01 October 2021
Example 4. Das Rheingold , scene 1: Flosshilde, “Deinen stechenden Blick” (22, 2, 2–23, 1, 3). Das Rheingold , scene 1: Flosshilde, “Deinen stechenden Blick” (23, 1, 4–24, 1, 1). More
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Published: 01 October 2021
Example 4. Das Rheingold , scene 1: Flosshilde, “Deinen stechenden Blick” (22, 2, 2–23, 1, 3). Das Rheingold , scene 1: Flosshilde, “Deinen stechenden Blick” (23, 1, 4–24, 1, 1). More
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Published: 01 October 2021
Example 5. Die Walküre , act 1, scene 3: Siegmund, “Winterstürme” (opening repetition, 63, 3, 1–64, 1, 1; IAC = imperfect authentic cadence). Die Walküre, act 1, scene 3: Siegmund, “Winterstürme” (opening repetition, 64, 1, 2–64, 2, 2). More
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Published: 01 October 2021
Example 5. Die Walküre , act 1, scene 3: Siegmund, “Winterstürme” (opening repetition, 63, 3, 1–64, 1, 1; IAC = imperfect authentic cadence). Die Walküre, act 1, scene 3: Siegmund, “Winterstürme” (opening repetition, 64, 1, 2–64, 2, 2). More
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Published: 01 October 2021
Example 6. Die Walküre , act 3, scene 3: Wotan, “Leb’ wohl” (301, 2, 2–302, 1, 1). Die Walküre , act 3, scene 3: Wotan, “Leb’ wohl” (302, 1, 2–302, 4, 1). Die Walküre , act 3, scene 3: Wotan, “Leb’ wohl” (302, 4, 2–303, 2, 2). Die Walküre , act 3, scene 3: Wotan, “Leb’ wohl” (303, 2, 3 More
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Published: 01 October 2021
Example 6. Die Walküre , act 3, scene 3: Wotan, “Leb’ wohl” (301, 2, 2–302, 1, 1). Die Walküre , act 3, scene 3: Wotan, “Leb’ wohl” (302, 1, 2–302, 4, 1). Die Walküre , act 3, scene 3: Wotan, “Leb’ wohl” (302, 4, 2–303, 2, 2). Die Walküre , act 3, scene 3: Wotan, “Leb’ wohl” (303, 2, 3 More
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Published: 01 October 2021
Example 6. Die Walküre , act 3, scene 3: Wotan, “Leb’ wohl” (301, 2, 2–302, 1, 1). Die Walküre , act 3, scene 3: Wotan, “Leb’ wohl” (302, 1, 2–302, 4, 1). Die Walküre , act 3, scene 3: Wotan, “Leb’ wohl” (302, 4, 2–303, 2, 2). Die Walküre , act 3, scene 3: Wotan, “Leb’ wohl” (303, 2, 3 More
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Published: 01 October 2021
Example 6. Die Walküre , act 3, scene 3: Wotan, “Leb’ wohl” (301, 2, 2–302, 1, 1). Die Walküre , act 3, scene 3: Wotan, “Leb’ wohl” (302, 1, 2–302, 4, 1). Die Walküre , act 3, scene 3: Wotan, “Leb’ wohl” (302, 4, 2–303, 2, 2). Die Walküre , act 3, scene 3: Wotan, “Leb’ wohl” (303, 2, 3 More
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Published: 01 October 2021
Example 6. Die Walküre , act 3, scene 3: Wotan, “Leb’ wohl” (301, 2, 2–302, 1, 1). Die Walküre , act 3, scene 3: Wotan, “Leb’ wohl” (302, 1, 2–302, 4, 1). Die Walküre , act 3, scene 3: Wotan, “Leb’ wohl” (302, 4, 2–303, 2, 2). Die Walküre , act 3, scene 3: Wotan, “Leb’ wohl” (303, 2, 3 More
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Published: 01 April 2021
Example 3. Tchaikovsky, Sleeping Beauty , prologue, no. 4 scène final , mm. 1–4. (a) Latent and active dissonance. (b) Beginning-oriented hearing of dissonant 2-layer. (c) End-oriented hearing of dissonant 2-layer. More
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Published: 01 April 2021
Example 4. Tchaikovsky, Sleeping Beauty , prologue, no. 4 scène final , mm. 37–45, Carabosse paraît More
Journal Article
Journal of Music Theory (2010) 54 (1): 1–4.
Published: 01 April 2010
... sought in music.” In this introduction, a brief history behind the issue is presented and a comparison is drawn between the tasks of music theory and Cavell's “demands” upon philosophy. By glossing Cavell's notion of the “scene of instruction,” questions of teaching, epistemic justification...
Journal Article
Journal of Music Theory (2015) 59 (1): 1–61.
Published: 01 April 2015
..., some schemas have focused semantic connotations and are used to mark such utterance types as questions and witticisms. The article concludes with an analysis of scenes from act 1 of Mozart’s Così fan tutte , which shows how sensitivity to manipulations of galant recitative schemas can reveal subtle...
Journal Article
Journal of Music Theory (2014) 58 (1): 57–65.
Published: 01 April 2014
... of the opera’s overall 3 × 5 structure, his techniques for creating continuity between the sharply contrasting scenes, and evidence from the sketches concerning Berg’s techniques for organizing pitch and rhythm. Hall’s concise and efficient book...
Journal Article
Journal of Music Theory (2003) 47 (1): 155–214.
Published: 01 April 2003
... into Berg and Schoenberg’s provocative spatial and temporal metaphors? This paper addresses these questions in two stages: first, it identifies pitch- and interval-based structural pattern- ing in representative fragments of the first scene; and second, it compares these findings with the “impressionist...
Journal Article
Journal of Music Theory (2021) 65 (2): 287–323.
Published: 01 October 2021
...Example 2. Das Rheingold , scene 2: Fasolt, “Was du bist” (71, 1, 3–71, 3, 5). Das Rheingold , scene 2: Fasolt, “Was du bist” (71, 3, 6–72, 1, 6). ...
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