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Journal Article
Journal of Music Theory (2014) 58 (2): 103–154.
Published: 01 October 2014
... Phonological phrases The first unit of phonological structure larger than the word is the phono- logical phrase Although there is some degree of optionality in how speak- ers group the words of a sentence into phrases, there are also unmarked regularities that can be described by rules. One factor...
Journal Article
Journal of Music Theory (2020) 64 (1): 1–36.
Published: 01 April 2020
... Strauss II something remarkable is happening in your brain as you read these words, something of which you may be only dimly aware. Your mind is both at its present position within this sentence and at a later position. It is process- ing both the word that you have currently reached and a word that you...
Journal Article
Journal of Music Theory (2021) 65 (2): 287–323.
Published: 01 October 2021
... of this conceptual standpoint, I compare lyric form to two similar yet distinct categories that are already familiar to Wagner analysts: sentence and bar form. Lyric form (sometimes called the lyric prototype) is a four-phrase template for vocal melody, represented as AABA or AABC in the typical shorthand...
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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
... in the next sentence of the well- known table of the mixed major/minor mode in Harmonielehre is the same as the one Rothstein offers in correction.1 He then writes: Every note in Schenker’s expanded C-system derives from some C- scale—whether pure major, pure minor, or Phrygian—so in Schenker’s...
Journal Article
Journal of Music Theory (2005) 49 (2): 359.
Published: 01 October 2005
... 2008 Erratum for Robert C. Cook. 2005. “Parsimony and Extravagance.” Journal of Music Theory 49: 109–40. The following sentence on page 134 is erroneously attributed to Rich- ard Cohn: “Perhaps more importantly, the analysis presented here sug- gests that the vocabulary chosen...
Journal Article
Journal of Music Theory (2010) 54 (1): 141.
Published: 01 April 2010
... Erratum for Tymoczko, Dmitri. 2009. “Generalizing Musical Intervals,” Journal of Music Theory 53: 227–54 . Due to a production error, a line of text was missing in the printed version of this article on p. 234, immediately preceding Figure 4. The affected sentence should read...
Journal Article
Journal of Music Theory (2001) 45 (2): 457–469.
Published: 01 October 2001
... rhythmic analysis of Schubert’s “Wanderer’s Nachtlied II.” He begins his account with some pithy remarks about Goethe’s poem, which he regards as “extraordinar- ily free, with varied lengths of line, shifting patterns of accent, an asym- metrical rhyme scheme, and a sentence structure that frequently...
Journal Article
Journal of Music Theory (2001) 45 (1): 170–176.
Published: 01 April 2001
..., as I found myself marking almost every sentence. A typ- ical example of Schenker’s approach can be found in a section of this chapter called “Freely Executed Shadings within piano and forte,” where he expounds upon the notion that “forte” and “piano” are not fixed phys- ical levels: [N]uances...
Journal Article
Journal of Music Theory (2004) 48 (1): 99–141.
Published: 01 April 2004
... perspective calls on us to see the selfsame group elements differently, as nouns of distance or measurement. Both perspectives are two sides of the same coin and there is an advantage to seeing musical situations in both ways. Sentences (16) illustrate this unified perspective by paraphrasing ordinary...
Journal Article
Journal of Music Theory (2013) 57 (2): 383–418.
Published: 01 October 2013
... characteristic of an initiating function, such as a sentence presentation, then he will identify that group as initiating the S-zone. Consider Caplin’s reading of Haydn’s Sym- phony no. 95 in C minor/iv (1998, 274, n. 36), where, in the midst of what H&D deem a continuous exposition of the TR...
Journal Article
Journal of Music Theory (2003) 47 (1): 1–39.
Published: 01 April 2003
... of these arguments, we can add those of Ann Banfield, who, in her 1982 book Unspeakable Sentences: Narration and Repre- sentation in the Language of Fiction, showed that, in fiction, there is strictly speaking no narrator, no one who is telling the story.21 There are several features of fiction that reinforce...
Journal Article
Journal of Music Theory (2018) 62 (1): 119–144.
Published: 01 April 2018
... as an isolated gesture in mm. 1–2 before the primary theme gets under way with greater conviction. The very same gesture is used to conclude the opening sentence, where the conventional melodic ascent is exposed as a liquidation of the theme’s basic idea. Unsurprisingly, the opening gambit is also reused...
Journal Article
Journal of Music Theory (2002) 46 (1-2): 285–345.
Published: 01 October 2002
..., words become organ- ized into sentences—another system, and one capable of expressing state- ments in accordance with a particular grammar, syntax and semantics. Fourth, we have a text whose value, or literary worth, is judged by aes- thetic values that prevail in the language, culture...
Journal Article
Journal of Music Theory (2010) 54 (2): 311–324.
Published: 01 October 2010
... celebrated in music theory and analysis, are perhaps even more essential to the processing of spoken sound: not only sentences and phrases but words themselves are unintelligible to a hearer without some immediate and intuitive parsing of what is, after...
Journal Article
Journal of Music Theory (2011) 55 (1): 1–41.
Published: 01 April 2011
... direction (up/down) of the first multisyllabic word of each new phrase reverses that of the last multisyllabic word of the preceding phrase. On monosyllabic words, of course, the M-voices sing simply A. Each sentence of the text is concluded by instrumental echoes of its last...
Journal Article
Journal of Music Theory (2013) 57 (2): 287–320.
Published: 01 October 2013
... pedagogical purpose. Let us turn now more systematically to the teaching of thoroughbass, our first mode of discourse, and its organization. A useful distinction for this mode is the classic formulation of the two axes, syntagmatic and paradig- matic, around which sentence structure is organized...
Journal Article
Journal of Music Theory (2001) 45 (1): 162–169.
Published: 01 April 2001
... only briefly, as they have been considered in detail in ear- lier reviews.9 Schenker wrote German prose that contains colorful imagery, but is often difficult and obscure, partly due to long, complex sentences. Generally, the translators of The Masterwork in Music have met this challenge very well...
Journal Article
Journal of Music Theory (2013) 57 (2): 193–243.
Published: 01 October 2013
... orchestration. form6a—four middle a musical three-bar section In sentence. mm. (mm. hypermeasures 31–46 31–66) of Brahms’s is clearly and a 16 Measures 31–33 and 34–36 present what Schoenberg terms the “basic motive...
Journal Article
Journal of Music Theory (2000) 44 (1): 100–126.
Published: 01 April 2000
.... Author’s note (NZfM/PS): “These expressions are chosen in connection with Moritz Hauptmann.” 12. This sentence appears in bold typeface in PS. Hauptmann considered a simpler, Ursatz-like prototype: “The harmonic succession of the triads C . . . G . . . C, or the three first notes of the melodic...