1-20 of 170 Search Results for

song

Sort by
Journal Article
Journal of Music Theory (2016) 60 (2): 281–294.
Published: 01 October 2016
... Hearing Harmony: Towards a Tonal Theory for the Rock Era is forthcoming. Moore Allan F. . Song Means: Analysing and Interpreting Recorded Popular Song . Ashgate , 2012 : xvi + 395 pp. ( $39.95 , paperback) © 2016 by Yale University 2016 Works Cited Clarke Eric . 2005...
Journal Article
Journal of Music Theory (2014) 58 (2): 103–154.
Published: 01 October 2014
...Robert Snarrenberg Proceeding from the premise that a nineteenth-century German lyric song is a reading of its text, the author develops new resources for describing acts of reading poetry and establishes the analytical relevance of the approach using examples drawn mainly from songs by Brahms...
Journal Article
Journal of Music Theory (2000) 44 (1): 45–79.
Published: 01 April 2000
... in the Production of his Works.” Journal of the American Musicological Society 42 : 461 -503. ———. 1995 . Guillaume de Machaut: A Guide to Research . New York and London: Garland. Fuller, Sarah. 1987 . “Line, Contrapunctus and Structure in a Machaut Song.” Music Analysis 6 : 37 -58. ———. 1992...
Journal Article
Journal of Music Theory (2004) 48 (1): 25–68.
Published: 01 April 2004
..., Inc. Burkhart, Charles. 1990 . “Departures from the Norm in Two Songs from Schumann's Liederkreis.” In Schenker Studies , ed. Hedi Siegel. Cambridge: Cambridge University Press. Burnham, Scott. 1999 . “How Music Matters: Poetic Content Revisited.” In Rethinking Music , ed. Nicholas Cook...
Journal Article
Journal of Music Theory (2008) 52 (1): 75–122.
Published: 01 April 2008
...Elizabeth Aubrey Using the concept of “style” in analysis runs the risk of circularity, where features of individual works are identified as belonging to a style whose definition itself is derived from those features. This pitfall undermines studies of the songs of the twelfth- and thirteenth...
Image
Published: 01 October 2023
Example 37. Ruth Brown, “Daddy Daddy” (1952, by Rudolph Toombs). Song-length development of textual, rhythmic, and formal elements. More
Image
Published: 01 October 2023
Figure 10. The two twelve-tone chords that combine [0369] partitions in the song (climatic passage and final chord) and other “whole-tone” dyad tetrachords. More
Journal Article
Journal of Music Theory (2011) 55 (2): 253–264.
Published: 01 October 2011
...Patrick McCreless Patrick McCreless is professor of music theory in the Department of Music at Yale. His 2010 keynote address to the Society for Music Theory, “Ownership, in Music and Music Theory,” was recently published in Music Theory Online . Malin Yonatan Songs in Motion...
Journal Article
Journal of Music Theory (2023) 67 (2): 209–249.
Published: 01 October 2023
...Figure 10. The two twelve-tone chords that combine [0369] partitions in the song (climatic passage and final chord) and other “whole-tone” dyad tetrachords. ...
FIGURES | View All (24)
Image
Published: 01 October 2023
Example 3. Lutosławski's “Rycerze,” Iłłakowicz Songs : transformation of harmonic/scalar context for the note C5 in the voice melody (mm. 162, 169). More
Image
Published: 01 October 2023
Example 6. Lutosławski's “Dzwony cerkiewne,” Iłłakowicz Songs : end of the first and beginning of the second parts, mm. 220–29. More
Image
Published: 01 October 2023
Example 2. Lutosławski's “Morze,” from Iłłakowicz Songs : opening and closing measures of the song (mm. 1–4 and mm. 54–58); transformation of modal quality ( f −2 ) and reversal of semitonal association for the common pc D, from C♯–D to D–E♭. More
Image
Published: 01 October 2023
Example 5. Lutosławski's “Wiatr,” Iłłakowicz Songs : tetrachordal partitions in mm. 90–103: [0257], [0235], [0123], and [0369]. More
Image
Published: 01 October 2023
Example 4. Lutosławski's “Rycerze,” Iłłakowicz Songs : closing passage (mm. 194–99). More
Image
Published: 01 October 2023
Figure 9. A closed network for “Wiatr,” Iłłakowicz Songs : (a) six twelve-tone chords formed by contiguous tetrachords ([0235], [0123], and [0257]) related by T 4 and T 8 ; (b) intervallic arrangements of twelve-tone chords suggest affinity cycles, where each inscribes two tetrachordal More
Image
Published: 01 October 2023
Figure 1. Rhythm and blues songs with a single couplet per twelve-bar verse but greater phrase-rhythmic density than the standard form. More
Image
Published: 01 October 2023
Example 1. Lutosławski's “Morze,” Iłłakowicz Songs : mm. 20–23. The two lists of pitch classes represent the registral ordering of pitches, from lowest to highest. More
Image
Published: 01 October 2023
Figure 5. Harmonic space for “Rycerze,” Iłłakowicz Songs (chords 3–6, mm. 174–79): (a) superimposition of right- and left-hand hexachords; (b) chordal segments related by p ; (c) notes in different chords related by f . More
Journal Article
Journal of Music Theory (2007) 51 (2): 187–210.
Published: 01 October 2007
...Matt BaileyShea This article analyzes Hugo Wolf's Auf eine Christblume I and II in relation to Robert Bailey's concept of the “double-tonic complex.” These songs project an intricate pairing of D and F# tonalities that often result in various hexatonic relationships. My interpretation associates...
Journal Article
Journal of Music Theory (2016) 60 (2): 149–180.
Published: 01 October 2016
...Drew Nobile In this article, I advocate for a syntactical definition of harmonic function in rock music such that function is acquired not by a chord's scale-degree content but by its role in the context of a song's form. In rock songs, the syntactical role of dominant, for example, is often played...