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in Periodicity-Based Descriptions of Rhythms and Steve Reich's Rhythmic Style
> Journal of Music Theory
Published: 01 October 2021
Figure 19. (a) The subject of New York Counterpoint II. (b) The subject reduced to onsets on the eighth-note grid. (c) The spectrum of the whole rhythm and the rhythm split into onsets on and off the eighth-note grid. (d and e) Cartesian plots for coefficients 3 and 9 of the three rhythms.
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in Periodicity-Based Descriptions of Rhythms and Steve Reich's Rhythmic Style
> Journal of Music Theory
Published: 01 October 2021
Figure 19. (a) The subject of New York Counterpoint II. (b) The subject reduced to onsets on the eighth-note grid. (c) The spectrum of the whole rhythm and the rhythm split into onsets on and off the eighth-note grid. (d and e) Cartesian plots for coefficients 3 and 9 of the three rhythms.
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Journal Article
Journal of Music Theory (2014) 58 (1): 1–24.
Published: 01 April 2014
...Mark Anson-Cartwright Among the many qualities that set Bach apart from his contemporaries is his manner of transforming his thematic material—most notably his fugue subjects. Bach himself believed that all good fugue writers should know how and when to change (or mutate) their subjects...
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in Periodicity-Based Descriptions of Rhythms and Steve Reich's Rhythmic Style
> Journal of Music Theory
Published: 01 October 2021
Figure 31. The subject of the “It is a principle” canon from The Desert Music , reh. 163 (a), and the spectra of the basic rhythm, accented syllables, and canon entries (b).
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Journal Article
Journal of Music Theory (2003) 47 (2): 363–369.
Published: 01 October 2003
...Alexander Rehding Musical Representations, Subjects, and Objects: The Construction of Musical Thought in Zarlino, Descartes, Rameau, and Weber Jairo Moreno Indiana University Press, 2004 xii+232 pp. 2003 © Yale University, New Haven, Connecticut 06520 2003 Bent, Ian. (Ed.) 1993...
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 (2010) 54 (1): 37–60.
Published: 01 April 2010
... of time, however, the distance between Cavell's and the postmodernists' views concerning subjectivity and the role of the arts in defining it have become increasingly clear. In Cavell's scenario, a contemporary listener or critic confronted with the new music faces a sort of existentialist crisis: he...
Journal Article
Journal of Music Theory (2017) 61 (1): 1–28.
Published: 01 April 2017
...Daphne Tan Ernst Kurth's writings on musical form, while celebrated by many scholars, have been subject to differing interpretations and outright dismissal. Bruckner (1925), his best-known exposition on form, is daunting in scope and idiosyncratic in tone. A more sizable challenge, however...
Journal Article
Journal of Music Theory (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...
Journal Article
Journal of Music Theory (2018) 62 (2): 205–248.
Published: 01 October 2018
... that we today understand as grouping, chunking, and subjective rhythmicization. In the absence of anything resembling a modern theory of cognition, Holden’s account of how we can perceive music chiefly relies on the actions of posited mental faculties, including attention, memory, imagination...
Journal Article
Journal of Music Theory (1999) 43 (2): 231–255.
Published: 01 October 1999
... remaining fixed in memory, are acts of reconstruction, a perspective that encourages one to view music less as a collection of immutable structures and more as a subject for intentional creative perception. An analysis of Berg's Op. 2, No. 3 tests these ideas by bringing intentionalism and the biological...
Journal Article
Journal of Music Theory (2007) 51 (2): 187–210.
Published: 01 October 2007
... the D/F# complex with the central poetic subject: the Christmas rose. The article introduces Wolf's setting, reevaluates Bailey's idea, and offers an in-depth hermeneutic analysis of the two songs. The Hexatonic and the Double Tonic
Wolf’s Christmas Rose...
Journal Article
Journal of Music Theory (2008) 52 (1): 75–122.
Published: 01 April 2008
... that a perception of “style” can be subjective and circular, and that the notion of “high style” and “low style” is an oversimplification. 2008 2008 Elizabeth Aubrey is professor of music at the University of Iowa. She is coeditor of Songs of the Women Trouvères (2001) and author of The Music...
Journal Article
Journal of Music Theory (2009) 53 (2): 191–226.
Published: 01 October 2009
...Timothy Cutler The voice exchange is an elementary concept that can help solve some of tonal music's most difficult analytical problems. Although many essays allude to the subject of voice exchanges, there have been few direct investigations of the topic. Why such an important compositional...
Journal Article
Journal of Music Theory (2010) 54 (1): 121–140.
Published: 01 April 2010
... thank Jairo Moreno for his thoughts on
this essay. And I thank all of this issue’s contributors—my work here has benefitted greatly from the
opportunity to pursue an editorial dialogue with them.
1 The reading to which Derrida subjects this poem in his
“Rams” (2005, 135–63) has been highly...
Journal Article
Journal of Music Theory (2020) 64 (2): 283–291.
Published: 01 October 2020
... : University of Chicago Press .
Kivy
Peter
. 2009 . Antithetical Arts: On the Ancient Quarrel between Literature and Music . Oxford : Clarendon .
Klein
Michael L.
2015 . Music and the Crises of the Modern Subject . Bloomington : Indiana University Press...
Journal Article
Journal of Music Theory (2013) 57 (1): 87–118.
Published: 01 April 2013
... in the Music of Robert Schumann . New York : Oxford University Press . Kurth Richard B . 1999 . “ On the Subject of Schubert’s ‘Unfinished’ Symphony: Was bedeutet die Bewegung? ” 19th-Century Music 23/1 : 3 – 32 . Levarie Siegmund Levy Ernst . 1983 . Musical Morphology...
Journal Article
Journal of Music Theory (2018) 62 (2): 347–358.
Published: 01 October 2018
... .” Music Theory Spectrum 31 / 3 : 57 – 100 . Kielian-Gilbert Marianne . 2006 . “Beyond Abnormality—Dis/ability and Music’s Metamorphic Subjectivities .” In Sounding Off: Theorizing Disability in Music , edited by Lerner Neil Straus Joseph N. , 217 – 34 . New York : Routledge...
Journal Article
Journal of Music Theory (2013) 57 (1): 151–158.
Published: 01 April 2013
... on the topic of “form as process.” The book’s title alludes to Schmal-
feldt’s first article on the subject (1995), in which she views Beethoven’s for-
mal innovations in the middle-period music as a dynamic, dialectical process
and contextualizes this perspective within a “Beethoven-Hegelian” interpre...
Journal Article
Journal of Music Theory (2022) 66 (2): 273–279.
Published: 01 October 2022
... to identify resting points and to determine the completeness or incompleteness of melodic sections (Baker 1983 : 3–4). Koch justifies this appeal to Gefühl with the difference between music and language. “If one could distinguish subject and predicate in melody as definitely as in speech, it would...
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