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sonata

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Journal Article
Journal of Music Theory (1 October 2013) 57 (2): 383–418.
Published: 01 October 2013
...Joel Galand Joel Galand is associate professor of music theory and associate director of the School of Music at Florida International University. James Hepokoski and Warren Darcy Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata...
Journal Article
Journal of Music Theory (1 October 2006) 50 (2): 143–179.
Published: 01 October 2006
...Peter H. Smith Associative harmony functions as a powerful resource through which Schubert and Brahms fashion continuities within the dialectic of articulation and continuity that stands at the heart of the Viennese sonata style. More specifically, the technique of harmonic cross-reference provides...
Journal Article
Journal of Music Theory (1 April 2001) 45 (1): 119–143.
Published: 01 April 2001
...Gordon Sly 2001 © Yale University, New Haven, Connecticut 06520 2001 SCHUBERT’S INNOVATIONS IN SONATA FORM: COMPOSITIONAL LOGIC AND STRUCTURAL INTERPRETATION* Gordon Sly In his 1927 monograph “Franz Schubert,” Donald...
Journal Article
Journal of Music Theory (1 April 2019) 63 (1): 103–138.
Published: 01 April 2019
...Peter H. Smith This article explores musical and theoretical issues raised by a particular type of parallel form that has been interpreted in two strikingly contradictory ways—either as a birotational type 2 sonata form or as a sonata form with a reversed recapitulation. Insights drawn from...
Journal Article
Journal of Music Theory (1 October 2011) 55 (2): 221–251.
Published: 01 October 2011
...Patrick Wood Uribe It is to A. B. Marx that we owe the first extended discussion of sonata form and a conception of it that has survived in classrooms and rehearsal halls to this day. At the same time, Marx’s Sonatenform and his treatment of it are beset with what seem to be serious flaws, chief...
Journal Article
Journal of Music Theory (1 April 2010) 54 (1): 25–36.
Published: 01 April 2010
... “Kreutzer” sonata in connection with Tolstoy's infamous novella of the same name, they readily hear the passion and eroticism that Tolstoy imputed to the music. But the sonata dates from 1803; no one would write it today to evoke fatal attraction. Why should that be so? Must it be, and if so, why again? The...
Journal Article
Journal of Music Theory (1 April 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 (1 October 2015) 59 (2): 191–234.
Published: 01 October 2015
... String Quartet and the first movement of the Sonata for Violin and Piano, showing how we can relate Shostakovich's aggregate melodies to their musical surroundings in a deeper and more detailed way. Stephen C. Brown is associate professor of music theory and coordinator of music theory and...
Journal Article
Journal of Music Theory (1 October 2015) 59 (2): 273–320.
Published: 01 October 2015
... emergence of a group structure, whose generators—named transpositio and transformatio —are also characteristic musical motions and relations. The proposed analytical methodology is probed in a couple of short pieces of Bartók's Mikrokosmos and in the third movement of his Piano Sonata. The article argues...
Journal Article
Journal of Music Theory (1 April 2016) 60 (1): 51–88.
Published: 01 April 2016
... Schumann concerto sonata form tonal pairing Schenkerian analysis late style Works Cited Abbate Carolyn . 2004 . “Music: Drastic or Gnostic?” Critical Inquiry 30 / 3 : 505 – 36 . Aldwell Edward Schachter Carl . 2011 . Harmony and Voice Leading . 4th ed. Boston...
Journal Article
Journal of Music Theory (1 October 2017) 61 (2): 171–200.
Published: 01 October 2017
... practice. Copyright © 2017 by Yale University 2017 sonata form big data recapitulation double return end-rhyme Works Cited Allsop Peter . 1999 . Arcangelo Corelli: New Orpheus of Our Times . Oxford : Oxford University Press . Bonds Mark Evan . 1988 . “ Haydn’s False...
Journal Article
Journal of Music Theory (1 April 2001) 45 (1): 144–150.
Published: 01 April 2001
... maintained unabated throughout, in the background, and in fact does not really descend at all in the sense of a fundamental line (as explained below). What does this mean with regard to Schenker’s concept of interruption as a basic characteristic of sonata form? For those movements in which the...
Journal Article
Journal of Music Theory (1 October 2006) 50 (2): 277–290.
Published: 01 October 2006
... . Philadelphia: University of Pennsylvania Press. Hepokoski, James and Warren Darcy. 2006 . Elements of Sonata Theory: Norms, Types, and Deformations in the Late Eighteenth-Century Sonata . New York: Oxford University Press. Jonas, Oswald. [1934] 1982 . Introduction to the Theory of Heinrich Schenker...
Journal Article
Journal of Music Theory (1 April 2013) 57 (1): 151–158.
Published: 01 April 2013
... University Press . Hepokoski James Darcy Warren . 2006 . Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata . New York : Oxford University Press . Schmalfeldt Janet . 1991 . “ Towards a Reconciliation of Schenkerian Concepts with...
Journal Article
Journal of Music Theory (1 April 2019) 63 (1): 35–70.
Published: 01 April 2019
... . Hepokoski James Darcy Warren . 2006 . Elements of Sonata Theory: Norms, Types, and Deformations in the Late Eighteenth-Century Sonata . New York : Oxford University Press . Heyer Allison . 2007 . “ Analysis of Maria Schneider’s Green Piece .” MA thesis , University of Oregon...
Journal Article
Journal of Music Theory (1 April 2001) 45 (1): 162–169.
Published: 01 April 2001
... Symphony (in Volume III). Other sections deal with forms and genres (sonata form, fantasy, fugue), the evolving con- cept of the Urlinie, editorial distortion of musical texts, and the deficien- cies of Rameau’s theories. Each volume concludes with observations entitled “Miscellanea: thoughts on art and...
Journal Article
Journal of Music Theory (1 April 1999) 43 (1): 101–133.
Published: 01 April 1999
... divided octave lines with two traditional formal schemes: the labels under Figure 27a indicate binary form, while those under Figure 27b (“Exp.—Dev.— Recap suggest sonata form. The latter illustration, however, belies Schenker’s actual analytical practice: apart from an early reading of the first...
Journal Article
Journal of Music Theory (1 April 2018) 62 (1): 145–154.
Published: 01 April 2018
... or Chopin prelude, a Mozart or Beethoven sonata, a Haydn string quartet, or a Schubert song. They stake a strong claim to audibility. A beautiful example is the Allemande from the D minor French Suite of Bach, in which Schachter unveils two successive octave descents across mm. 1–9 in both...
Journal Article
Journal of Music Theory (1 October 2004) 48 (2): 337–354.
Published: 01 October 2004
... . “Brahms and Schenker: A Mutual Response to Sonata Form.” Music Theory Spectrum 16 : 77 -103. Struck, Michael. 1991 “New Evidence of the Genesis of Brahms's G major Violin Sonata, op. 78.” The American Brahms Society Newsletter 9/1 : 5 -7. Swafford, Jan. 1997 . Johannes Brahms: A...
Journal Article
Journal of Music Theory (1 October 2001) 45 (2): 489–490.
Published: 01 October 2001
... and ana- lytical significance of these unique and revealing documents. The first publica- tion in the series is Artaria 195: Beethoven’s Sketchbook for the Missa solemnis and the Piano Sonata in E Major, Opus 109. The edition is published in three vol- umes—commentary, facsimile, transcription...