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sonic

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Journal Article
Journal of Music Theory (2006) 50 (1): 77–101.
Published: 01 April 2006
... Fanny Mendelssohn Hensel's setting of Bach's “Das alte Jahr” in the concluding “Nachspiel” of her piano song cycle, Das Jahr , as suggesting interactions of public and private sonic worlds. I follow potential tonal-harmonic alternatives (after Schoenberg and Berg on the chorale) and implications of...
Journal Article
Journal of Music Theory (2017) 61 (2): 201–242.
Published: 01 October 2017
... units stressed through sonic and contextual criteria, thus providing insight into the syntactic elements of the musical language and indicating listening and analytic strategies for this music. Copyright © 2017 by Yale University 2017 Pierre Boulez Domaines transformational theory composing...
Journal Article
Journal of Music Theory (2001) 45 (2): 345–433.
Published: 01 October 2001
... true, but four are composed across, rather than within, rows, and one of these crosses a lyne pair.4 To identify segments in these three excerpts, we have summoned var- ious strategies. Sometimes we have taken disjunctions in the sonic sur- face to mark segment boundaries: a fermata, or a...
Journal Article
Journal of Music Theory (2019) 63 (2): 269–281.
Published: 01 October 2019
... typified by parametric modulation or change (42). Music rep- resents dynamic processes through sonic analogues. These sonic analogues for dynamic processes form the center of a cognitive grammar of music, which can provide music theorists with tools for musical interpretation that fit with current...
Journal Article
Journal of Music Theory (2015) 59 (1): 183–190.
Published: 01 April 2015
..., experience, or discourse, which she calls the sonic, the contextual, and the structural domains. The sonic (or psychoacoustic) domain constitutes the basis of musical orga- nization and originates from an orientation that considers the disjunctions in...
Journal Article
Journal of Music Theory (2021) 65 (1): 17–38.
Published: 01 April 2021
... acknowledgment that their dance is not exclusively a response to features in their sonic music—instead, the music and the dance are intrinsically related. I flesh out this holistic view via a rhythm study of a particular style of Scandinavian folk music with an intimate relationship to dance: Norwegian...
Journal Article
Journal of Music Theory (2004) 48 (2): 147–218.
Published: 01 October 2004
... segments and implies boundaries; disjunction defines boundaries and implies segments. Associative and disjunctive orientations are implemented by contex- tual and sonic criteria, respectively. A contextual criterion (C) is a ration- ale for segmentation that identifies an association between two or...
Journal Article
Journal of Music Theory (2017) 61 (1): 1–28.
Published: 01 April 2017
... impression is present. But as long as this progres- sion is not actively reversed by the listener himself, he is not yet hearing “music,” is merely entranced or even confused by sonic stimuli. The “reproductive” pro- cess (in listening as well as in performing) is in reality a newly...
Journal Article
Journal of Music Theory (2011) 55 (2): 271–281.
Published: 01 October 2011
... “categories of sonic character . . . that could be manipulated for expressive purposes” (19–20, 24). Both arguments present conceptual difficulties. As an illustration of a pre-Willaertian approach to musical affect, the author discusses two famous passages from...
Journal Article
Journal of Music Theory (2014) 58 (2): 257–263.
Published: 01 October 2014
... interval between them is like seeing Lewin’s para- doxical “dubbit.”2 Unlike the now iconic example 0.1 from GMIT, in which an interval i extends as an arrow from point s to point t, my sonic image of 2  Lewin (2006, 91) discusses the illusion and the problems surrounding the hearing of “dubbits...
Journal Article
Journal of Music Theory (2013) 57 (2): 193–243.
Published: 01 October 2013
... course, may be diametrically opposed to the sentiment of the music. There is no doubt that music, when it wants to objectivate, can make characteristic use of such colors. (20–21) Valuing the ideal human singing voice as the epitome of sonic purity, Rie- mann finds the material trace of...
Journal Article
Journal of Music Theory (2020) 64 (1): 123–136.
Published: 01 April 2020
... listeners and performers, Cox s captivating sensitivity to the nuances of the sonic reality of music and his earnest dedica- tion to pedagogy are exceptional. Particularly useful is Cox s comprehensive, taxonomical approach, which offers readers a number of principles, avenues, and continua that may serve...
Journal Article
Journal of Music Theory (2011) 55 (2): 167–220.
Published: 01 October 2011
... ber 1995. along the lines of “sonically moved forms” or “soundingly moved forms,” neither of which is very clear—not unlike 6  Friedrich Theodor Vischer 1846–57; [1897] 1907, 1920– the German! Roger Scruton (1997, 353) translates “forms 22; Robert Vischer [1873] 1994, and 1874, a short, follow...
Journal Article
Journal of Music Theory (2003) 47 (2): 363–369.
Published: 01 October 2003
...- 366 ipates fully in the process of signification: only through the agency of the listener can the sonic signifier be turned into a meaningful cognitive rep- resentation. More than that, it is thanks to the intervention of the imagi- nation—forging the link between the inaudible seventh and the...
Journal Article
Journal of Music Theory (2011) 55 (1): 161–166.
Published: 01 April 2011
... that domain. The balance (an emphasis on harmony and some key character- istics of sonic identity) is perhaps what one would expect from a knowledge of Everett’s previous work, although the marginal treatment of meaning at the expense of an exhaustive treatment...
Journal Article
Journal of Music Theory (2000) 44 (1): 171–229.
Published: 01 April 2000
Journal Article
Journal of Music Theory (2021) 65 (1): 81–106.
Published: 01 April 2021
... dance hall through brief analyses of the finales from two chamber works. Lawrence Zbikowski ( 2008 ) analyzes the finale of Haydn's String Quartet op. 76/4 as a “sonic analogue” for the bourrée, but while the movement certainly employs the bourrée topic, by the time it was composed the bourrée was...
Journal Article
Journal of Music Theory (1999) 43 (2): 359–371.
Published: 01 October 1999
... the context, the project’s in- herent modernism remains uncompromised. Given the complexity and originality of his theoretical apparatus, Hasty might have been forgiven for restricting his discussion of music examples to the minimum acceptable for some kind of sonic orientation. In fact, his...
Journal Article
Journal of Music Theory (2001) 45 (2): 457–469.
Published: 01 October 2001
... sensory reinforcement. Indeed, they can persist for a time in the face of strongly contradictory signals. And even when sonic emphases coincide—as they often will—with these accents, the emphasis and the accent produced by perceived time spans are two separate events. Once the listener...
Journal Article
Journal of Music Theory (2007) 51 (2): 333–340.
Published: 01 October 2007
... that foregrounds form, space, and sonic multiplicity” (155). Lewis’s ethnography-informed accounts of AACM compositional meth- ods and performance practices have multiple implications for music analysis. At a minimum, music theorists engaged in analyzing an AACM performance should attempt...