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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...
Journal Article
Journal of Music Theory (2008) 52 (1): 123–149.
Published: 01 April 2008
...Jennifer Bain The music of Hildegard of Bingen (1098-1179) has often been described as standing outside medieval chant traditions. This article argues that although many features of her music deviate from early chant, her repertoire conforms instead in remarkable ways with a late chant style, which...
Journal Article
Journal of Music Theory (2012) 56 (2): 169–223.
Published: 01 October 2012
...Panayotis Mavromatis This article presents a general-purpose formalism for modeling musical syntax as a probabilistic musical grammar. The formal probabilistic framework offers a precise yet flexible characterization of musical style as structure and process. Moreover, the grammar can be built...
Journal Article
Journal of Music Theory (2016) 60 (1): 51–88.
Published: 01 April 2016
...Peter H. Smith Schumann's adaptations of eighteenth-century instrumental forms have long been regarded as problematic, as have the works of his late style period of the 1850s. The Cello Concerto op. 129 (composed 1850, published 1854) is a late work based on classical models that has earned a place...
Journal Article
Journal of Music Theory (2006) 50 (2): 277–290.
Published: 01 October 2006
...David Temperley Robert O. Gjerdingen Music in the Galant Style Oxford University Press, 2007: 514 pp. ($45.00 cloth) is associate professor of music theory at Eastman School of Music. His book Music and Probability was published in 2007 by MIT Press. 2006 2006...
Journal Article
Journal of Music Theory (2021) 65 (2): 325–374.
Published: 01 October 2021
... through the 1990s, Steve Reich formulated a strongly coherent style that employed pattern repetition and rhythmic cycles in a consistent way from piece to piece. Much of Reich's compositional attention was clearly directed at the aesthetics of the rhythmic texture of the piece, so while there are strong...
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Image
Published: 01 April 2023
Figure 8.2. A Mahanthappa-style line partitioning of the 01347B hexachord into a major triad (open note heads) and a 024 subset. The line uses transpositions on C and F♯. More
Journal Article
Journal of Music Theory (1999) 43 (2): 349–358.
Published: 01 October 1999
...Dave Headlam Style and Idea in the Lyric Suite of Alban Berg by George Perle Stuyvesant, NY: Pendragon Press, 1995 68 pp. 1999 © Yale University, New Haven, Connecticut 06520 1999 REVIEWS Style and Idea in the Lyric Suite of Alban Berg by George Perle Stuyvesant, NY: Pendragon...
Journal Article
Journal of Music Theory (2007) 51 (1): 85–135.
Published: 01 April 2007
...-Philippe Rameau, but that study neither advanced his compositional abilities nor later shielded him from the scorn of Rameau himself. Had Rousseau found a master of the then fashionable Italian style of music, he would have studied exercises in partimenti and solfeggi . Solfeggi were studies for voice...
Journal Article
Journal of Music Theory (2017) 61 (2): 243–287.
Published: 01 October 2017
... are familiar from neo-Riemannian theory; the third relates a major triad to the minor triad with a root three semitones higher (such as C major and E♭ minor). The PSM framework exhibits two properties ideally suited to an atonal triadic style. First, as each relation belongs to a different common-tone class...
Image
Published: 01 April 2023
Figure 8. The Scambi performance space annotated with step classes relative to family 3. Each step class is illustrated with a different line style. More
Journal Article
Journal of Music Theory (2015) 59 (1): 1–61.
Published: 01 April 2015
...Paul Sherrill; Matthew Boyle Italianate recitative of the eighteenth and early nineteenth centuries constituted a distinct musical language that coexisted with the familiar style of common practice music. In this article we propose a theory of that language (“galant recitative”), which we...
Journal Article
Journal of Music Theory (2017) 61 (2): 201–242.
Published: 01 October 2017
... techniques, because they stem from a desire to emphasize and systematically realize the very harmonic elements and relationships that motivated their development. The article outlines a typology of methods of composing out that are central to Boulez’s compositional style in a broader sense. In this way...
Journal Article
Journal of Music Theory (2020) 64 (1): 1–36.
Published: 01 April 2020
...John Y. Lawrence Listener expectations are a fundamental consideration in formal analysis, common to cognitive and hermeneutic approaches alike. Such approaches maintain that listeners use statistical regularities of musical style to predict where a piece of music is going and then assess what...
Journal Article
Journal of Music Theory (2008) 52 (2): 273–320.
Published: 01 October 2008
...Brent Auerbach Tiered polyphony describes segments of music that manifest rhythmic/metric layering (Lester 1986) in the presence of polyphony. This texture, though a hallmark of the baroque era, is capable of generating a variety of musical effects over many style periods. This article establishes...
Journal Article
Journal of Music Theory (2010) 54 (1): 25–36.
Published: 01 April 2010
...—inevitably equivocal—is to be found not in the shopworn trope that imparts a sovereign irreversibility to the history of form or style, but in the historicality of subjectivity on one hand and of musical meaning on the other. Lawrence Kramer is professor of English and music at Fordham University...
Journal Article
Journal of Music Theory (2015) 59 (1): 63–97.
Published: 01 April 2015
... several concepts related to tonal disunity in Russian- and English-language sources, including tonal pairing, directional tonality, and mutability, and offer my own definition of mutability, understood in Schenkerian terms. I then briefly discuss these phenomena in the style to which the Vigil belongs...
Journal Article
Journal of Music Theory (2015) 59 (1): 99–119.
Published: 01 April 2015
... (1636–37), emphasizes delivery ( pronuntiatio or actio ) rather than style ( elocutio ) as the basis for comparing the two disciplines. As such, it offers a notable contrast to the more familiar analogies put forth by the German theorists who have tended to dominate our perspective. At the heart...
Journal Article
Journal of Music Theory (2016) 60 (2): 213–262.
Published: 01 October 2016
... proposes the use of phase spaces and Quinn's harmonic qualities in analysis of a wide variety of twentieth-century styles. The main focus is on how these ideas relate to scale-theoretic concepts and the repertoires to which they are applied, such as the music of Debussy, Satie, Stravinsky, Ravel...
Journal Article
Journal of Music Theory (2022) 66 (2): 189–222.
Published: 01 October 2022
... to topics, with the topical explorations embedded within broader considerations of style, history, and musical structure and discourse. By the early 1960s, a culture of topical analysis, one that emphasized topics' expressive and formal functions, was in place, and over the next decade it began to transform...
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