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Journal Article
Journal of Music Theory (2014) 58 (2): 103–154.
Published: 01 October 2014
.... Part I provides an account of the rules that generate phonological words and phrases in German, the principles that determine the normal placement of stress in words and phrases, and motivations for the abnormal placement of stress. Part II looks at higher-level, facultative structures in prosodic...
Journal Article
Journal of Music Theory (2013) 57 (2): 321–371.
Published: 01 October 2013
... the seemingly incompatible agential theories of Edward T. Cone, who heard music’s agencies as obligatory and hierarchically nested, and Fred E. Maus, who clarified the poietic function of such agential ascriptions while stressing their provisional, ad hoc, and often ephemeral nature. After arriving...
Journal Article
Journal of Music Theory (2017) 61 (2): 201–242.
Published: 01 October 2017
... of 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 (2010) 54 (2): 311–324.
Published: 01 October 2010
... in the speech of nonnative speakers). Indeed, rhythm studies in linguistics were long dominated by typological concerns: such apparently dissimilar languages as En­glish and Thai purportedly share a tendency toward isochrony between stresses, while languages such as Spanish and Hindi...
Journal Article
Journal of Music Theory (2001) 45 (2): 457–469.
Published: 01 October 2001
... 1) how specific musical events are ordered, 2) how they are grouped together to create musically signif- icant patterns (e.g., themes, progressions, phrases, and so on), 3) how long or short these patterns may be, and 4) why some patterns are stressed and others are not. Advances are generally...
Journal Article
Journal of Music Theory (2016) 60 (1): 23–50.
Published: 01 April 2016
... beat; (3) pokok, which contains one note every two beats; and (4) jegogan, which contains one note every four beats (Tenzer 2000b, para. 2.2).7 Tenzer (2000b, paras. 2.3–2.4) further explains: In each stratum . . . points of stress...
Journal Article
Journal of Music Theory (2000) 44 (2): 451–485.
Published: 01 October 2000
..., but these are somewhat out of phase with each other. There are, then, no clearly drawn boundaries that would be articulated by all formal princi- ples underlying the work.14 Moreover, the music would first seem to greatly stress some structurally subordinate elements over the primary...
Journal Article
Journal of Music Theory (2020) 64 (2): 203–240.
Published: 01 October 2020
...- standing of nineteenth-century form. He apparently recognizes his own con- ceptual idealization, for he adds an important caveat to his call for a positive theory of Romantic form. Vande Moortele (2013: 424) stresses that such a theory must also avoid losing track of the ongoing relevance of earlier norms...
Journal Article
Journal of Music Theory (2012) 56 (2): 293–298.
Published: 01 October 2012
...). The focus on a single, relatively well-circumscribed topic within each chapter facilitates comparison of analytical strategies, for as Damschroder stresses, there was by no means a single, unified nineteenth-century ana­ lytical practice. Rather, the multiplicity of approaches and their potential...
Journal Article
Journal of Music Theory (2013) 57 (1): 87–118.
Published: 01 April 2013
... Schulenberg .” Music Theory Online 2/7 . www.mtosmt.org/issues/mto.96.2.7/mto.96.2.7.willner.html . ———. 1996c . “ More on Handel and the Hemiola: Overlapping Hemiolas .” Music Theory Online 2/3 . www.mtosmt.org/issues/mto.96.2.3/mto.96.2.3.willner.html . ———. 1998 . “ Stress and Counterstress...
Journal Article
Journal of Music Theory (2000) 44 (1): 81–99.
Published: 01 April 2000
... this sketch with Beethoven’s music and fleshes out the analysis on the basis of Riemann’s commentary, which reads as follows: “The first subphrase up to m. 5 is nothing but an expanded thesis. Mm. 5–6 give a complete cadence with the stress on IV; the same follows in mm. 6–8, again with the stressed lower...
Journal Article
Journal of Music Theory (2006) 50 (2): 181–210.
Published: 01 October 2006
... of the expositions that divide the music into smaller units. On the other hand, I consider the dramatic effect that each interpretation would have and choose the one that I feel is dramatically fit. Theoretical perspective Since above I have stressed the significance of the theoretical perspective...
Journal Article
Journal of Music Theory (2013) 57 (2): 433–449.
Published: 01 October 2013
... developments bind “Forme” and “Périforme,” and even the shared assess- “strangely at odds with his aesthetic ideals,” but the ments of postwar composition that bind “‘ . . . Auprès et author still stresses Boulez’s resolute faith in the series au loin’” (1954), “Recherches maintenant” (1954...
Journal Article
Journal of Music Theory (2000) 44 (2): 261–322.
Published: 01 October 2000
... beats and tempo, intensity is one of the elements of rhythm and can vary its effects infinitely.16 For Fétis, the aesthetic accent is a qualitative (stress) accent that affects the surface rhythm of the music and is subject to interpretive creativity. Because the aesthetic accent (nuance...
Journal Article
Journal of Music Theory (2012) 56 (2): 169–223.
Published: 01 October 2012
... parameters relate to associated non- musical ones, such as word stress of text set to music. A minimal requirement for a formal musical grammar is that it should provide a precise yet flexible characterization of musical style as structure...
Journal Article
Journal of Music Theory (2003) 47 (2): 305–323.
Published: 01 October 2003
... André Cam- pra’s and Antoine Blanchard’s tenures at the Chapelle Royale. (It is indeed one of their favorite cadential progressions.) Some other composers in the service of Louis XV even felt the need to stress further Lalande’s cadential gesture by adding a major ninth to 7 6...
Journal Article
Journal of Music Theory (2003) 47 (1): 125–154.
Published: 01 April 2003
..., but this is not obviously true.) Stress accents can be a factor in the perception of meter, but they are a rela- tively minor one; consider the case of organ or harpsichord music, where no stress accents are possible but meter can still be quite readily inferred. 19. The end of the consequent phrase features...
Journal Article
Journal of Music Theory (2022) 66 (2): 189–222.
Published: 01 October 2022
...—is common to most of Zuckermann's holistic analyses. One should stress, however, that rarely does Zuckermann pursue full programmatic implications of topical presence as he does here; usually, he is after the expressive-emotional. Whatever the hermeneutic interpretation, it is suggested to the analyst...
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Journal Article
Journal of Music Theory (1999) 43 (1): 135–163.
Published: 01 April 1999
... stressed by Krebs: this turn lasts but three measures; and it is positioned in the mid- dle of a larger fifteen-measure unit firmly anchored on both sides in the tonic, mm. 58–61 and 65–72. The C≥ inflection, accompanying a mo- mentary question in the text, provides only a fleeting threat, immediately...
Journal Article
Journal of Music Theory (2001) 45 (1): 204–227.
Published: 01 April 2001
... includes some features that I have stressed elsewhere in this review. The level at which Schenker writes, of the harmonies, Stufen der Tonal- ität als Tonarten does not correspond to the Stufengang (harmonic pro- gression) of the next deeper level, labeled Tonalität; if it did, the latter progression...