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Journal Article
Journal of Music Theory (1 October 2000) 44 (2): 451–485.
Published: 01 October 2000
... MOVEMENT OF SCHUBERT’S STRING QUINTET AND IN CHOPIN’S FOURTH BALLADE Lauri Suurpää Introduction In Free Composition Schenker begins the discussion of the middle- ground level by describing different ways in which the tonic-dominant...
Journal Article
Journal of Music Theory (1 April 2003) 47 (1): 41–101.
Published: 01 April 2003
.... Salzer, Felix. 1976 . “Haydn's Fantasia from the String Quartet, Opus 76, No. 6.” Music Forum 4 : 161 -94. Schenker, Heinrich. 1906/ 1954 . Harmony. Edited by Oswald Jonas. Translated by Elisabeth Mann Borgese. Chicago: University of Chicago Press. Steblin, Rita. 1986 . “Key Characteristics...
Journal Article
Journal of Music Theory (1 April 2012) 56 (1): 87–120.
Published: 01 April 2012
... computational model, which I have proposed elsewhere, to estimate the information content a listener would perceive when listening to a piece of music. I then compare this model’s output to traditional musical analyses of several string-quartet expositions, demonstrating a qualitative correlation between the...
Journal Article
Journal of Music Theory (1 October 2009) 53 (2): 305–328.
Published: 01 October 2009
...David Temperley is associate professor of Music Theory at Eastman School of Music. His book Music and Probability was published in 2007 by MIT Press. Danuta Mirka Metric Manipulations in Haydn and Mozart: Chamber Music for Strings, 1787–1791 Oxford University Press, 2009: 332 pp...
Journal Article
Journal of Music Theory (1 October 2013) 57 (2): 193–243.
Published: 01 October 2013
...Jeffrey DeThorne Correlating particular instrumental colors with pitch chromaticism, three early twentieth-century scholars demonstrate how a methodical use of colorful winds, less colorful strings, and wind-string mixtures informed actual orchestrational practices. After demonstrating how Wagner’s...
Journal Article
Journal of Music Theory (1 April 2018) 62 (1): 41–84.
Published: 01 April 2018
...Gilad Rabinovitch This article offers a new view of Robert Gjerdingen’s galant schemata by examining underlying principles for the generation of the skeletal contrapuntal strings that may be considered their central feature. It discusses the challenges of subjectivity and circularity in finding and...
Journal Article
Journal of Music Theory (1 April 2019) 63 (1): 103–138.
Published: 01 April 2019
... distinguished by their supple form-content synergies serve as case studies: the Andante from Mendelssohn’s octet for strings in E♭ major, op. 20, and the first movement from Dvořák’s string quartet in E♭ major, op. 51. sonata form reversed recapitulation Felix Mendelssohn Antonin Dvořák Schenkerian...
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 2016) 60 (2): 97–148.
Published: 01 October 2016
... tonal music as always comparative and context dependent. Illustrating these claims, repertoires of Viennese string quartet minuets and piano pieces by Chopin are analyzed. Christopher Brody is assistant professor of music theory at the Eastman School of Music. His research focuses on baroque...
Journal Article
Journal of Music Theory (1 October 2016) 60 (2): 181–212.
Published: 01 October 2016
... level, aligned-cycle families. To conclude, I reexamine a three-voice aligned cycle from the second movement of Berg's String Quartet, op. 3, and investigate cyclic progressions in Thomas Adès's Piano Quintet, Lieux retrouvés , and The Tempest . Philip Stoecker is associate professor of music at...
Journal Article
Journal of Music Theory (1 April 2015) 59 (1): 121–181.
Published: 01 April 2015
... takes a wider domain of harmonic objects. A number of musical examples show how expanding the domain enables us to extend and refine some the conclusions of neo-Riemannian theory about Schubert’s harmony. Through analysis of the Trio and Adagio from Schubert’s String Quintet and other works using the...
Journal Article
Journal of Music Theory (1 October 2006) 50 (2): 143–179.
Published: 01 October 2006
... boundary. In a second type, it involves a more general sense of continuity between formal sections. The study of harmonic cross-reference in the three-key expositions of Schubert's Quartettsatz and String Quintet and Brahms's Second Symphony and Clarinet Trio reveals a tension between functional...
Journal Article
Journal of Music Theory (1 October 2006) 50 (2): 181–210.
Published: 01 October 2006
...Lauri Suurpää This study examines interactions among form, Schenkerian voice-leading structure, and certain dramatic features in two Mozart expositions: the second movement of the G-minor symphony, K. 550, and the opening movement of the G-minor string quintet, K. 516. The analyses frequently...
Journal Article
Journal of Music Theory (1 April 2014) 58 (1): 25–56.
Published: 01 April 2014
... comparison between Roesner’s interpretation of the outer movements of the String Quartet in A minor as examples of deficient two-part expositions and readings of them instead as instances of the continuous type. The first movement of the Second Symphony illustrates that the tonal pairing of the A-minor...
Journal Article
Journal of Music Theory (1 April 2009) 53 (1): 1–56.
Published: 01 April 2009
... movement of the Second Symphony op. 73, and the last two movements of the Second String Quartet op. 51/2. These analyses also suggest correspondences in these movements between metric relationships and relationships of key, harmony, and form. Metric Cubes in Some Music of Brahms...
Journal Article
Journal of Music Theory (1 April 2009) 53 (1): 137–162.
Published: 01 April 2009
...Joti Rockwell Drawing ideas from transformational theory and rhythm and meter theory, this study examines bluegrass banjo music in terms of rhythm and motions of the human hand. It begins by presenting a mathematical model of the five-string banjo characterizing the gestural permutations that give...
Journal Article
Journal of Music Theory (1 April 2017) 61 (1): 111–140.
Published: 01 April 2017
... multiaggregate cycles and that these “(048) or (0369) chains” exemplify augmented and diminished tendencies propelling the development of new key variations. By way of demonstration, the article ends with several analyses of Bartók's works from the decade 1908–17: the first movement of the Second String Quartet...
Journal Article
Journal of Music Theory (1 April 2018) 62 (1): 1–39.
Published: 01 April 2018
...Jonathan De Souza This article develops a transformational approach to the fretboard, starting from the intersection of frets and strings. To overcome formal limitations of earlier models, it extends these two dimensions without limit and then defines varied intervals and transformations in...
Journal Article
Journal of Music Theory (1 October 2018) 62 (2): 165–204.
Published: 01 October 2018
... principle produces an ordering of pitch classes that lies behind small formal units, cycles order the presentation of twelve-tone rows and give structure to large formal spans. The present study explores four cyclic organizational principles in works from the String Quartet, op. 28 (1938), to the Second...
Journal Article
Journal of Music Theory (1 October 2018) 62 (2): 339–346.
Published: 01 October 2018
... Late Quartets .” Musical Quarterly 93 / 3 : 450 – 513 . Lerdahl Fred Jackendoff Ray . 1983 . A Generative Theory of Tonal Music . Cambridge, MA : MIT Press . Mirka Danuta . 2009 . Metric Manipulations in Haydn and Mozart: Chamber Music for Strings, 1787–1791 . New York...