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Journal Article
Journal of Music Theory (1 October 2000) 44 (2): 381–450.
Published: 01 October 2000
.... Stevens, Jane R. 1965 . The Keyboard Concertos of Carl Philipp Emanuel Bach . Ph.D. diss., Yale. ______. 1971 . “An Eighteenth-Century Description of Concerto First-Movement Form.” Journal of the American Musicological Society 24 : 85 –95. ______. 1974 . “Theme, Harmony, and Texture in...
Journal Article
Journal of Music Theory (1 April 2010) 54 (1): 1–4.
Published: 01 April 2010
...Brian Kane Stanley Cavell's thinking on music may appear an odd theme for a special issue of the Journal of Music Theory . According to Cavell, “although I have written very little explicitly about music... something I have demanded from philosophy has been an understanding precisely of what I had...
Journal Article
Journal of Music Theory (1 October 2014) 58 (2): 155–178.
Published: 01 October 2014
...David Temperley A corpus analysis of common-practice themes shows that, when an intervallic pattern is repeated with one changed interval, the changed interval tends to be larger in the second instance of the pattern than in the first; the analysis also shows that the second instance of an...
Journal Article
Journal of Music Theory (1 October 2017) 61 (2): 171–200.
Published: 01 October 2017
... terms. Here I present a bottom-up approach, demonstrating that the recapitulation arose as a concatenation between two previously independent practices: the double return of the opening theme in the tonic in the middle of the second half of a two-part form, and the thematic matching between the ends of...
Journal Article
Journal of Music Theory (1 April 2003) 47 (1): 125–154.
Published: 01 April 2003
...: Columbia University Press. Schoenberg, Arnold. 1975 . Style and Idea . Berkeley: University of California Press. Temperley, David. 1996. “Hypermetrical Ambiguity in Sonata Form Closing Themes.” Society for Music Theory Annual Meeting. Available at www.theory.esm.rochester.edu/temperley/hyp-amb...
Journal Article
Journal of Music Theory (1 April 2013) 57 (1): 151–158.
Published: 01 April 2013
... notion of pro- cessual form since its publication. Schmalfeldt begins by citing Dahlhaus’s reading of the “Tempest” Sonata’s ambiguous opening as an epitome of form-as-process: is it an intro- duction or is it the main theme proper? For Dahlhaus, “the ambiguity should be understood as an...
Journal Article
Journal of Music Theory (1 April 2001) 45 (1): 119–143.
Published: 01 April 2001
... mind that Schenker understood form to derive from a work’s voice-lead- ing structure, and therefore viewed the recapitulation solely in terms of its tonal function. His indication of the beginning of the recapitulation, then, corresponds to m. 59 ff., where the second theme is restated in the tonic...
Journal Article
Journal of Music Theory (1 April 2003) 47 (1): 41–101.
Published: 01 April 2003
... work of special significance, due to its unusual design—beginning with an imposing variations movement based on a rather cryptic, understated theme. The entire quartet is perva- sively major, with minor-mode contrasts obtained mainly by briefly touching upon the diatonic minor functions—ii (f minor...
Journal Article
Journal of Music Theory (1 April 2014) 58 (1): 25–56.
Published: 01 April 2014
... relationship to tradition, with “tradition” tellingly rendered in scare quotes—on the assumption that tonal polarity is the driving force of classical expository procedures. Moreover, although she clearly recognizes that a contrasting second theme is not essen- tial to the eighteenth-century sonata, her...
Journal Article
Journal of Music Theory (1 October 2006) 50 (2): 181–210.
Published: 01 October 2006
... in the tonic key. The second part of an exposition is further divided into two zones, the secondary-theme zone 186 Journal of Music Theory • Absence of medial caesura, two-part division, and secondary- theme zone...
Journal Article
Journal of Music Theory (1 October 2018) 62 (2): 369–370.
Published: 01 October 2018
... University Press . Carpenter Patricia . 1983 . “ Grundgestalt as Tonal Function .” Music Theory Spectrum 5 : 15 – 38 . Carpenter Patricia . 1984 . “ Musical Form and Musical Idea: Reflections on a Theme of Schoenberg, Hanslick, and Kant .” In Music and Civilization: Essays in Honor...
Journal Article
Journal of Music Theory (1 April 2012) 56 (1): 87–120.
Published: 01 April 2012
... and the start of the second theme from the exposition of Beethoven’s string quartet in C minor, op. 18/4, mvt. I. Even without invoking the notion of leading virtual agents, this excerpt is complex. Measure 25 contains a half cadence in the first key...
Journal Article
Journal of Music Theory (1 October 2006) 50 (2): 211–251.
Published: 01 October 2006
... Theme in sonata Form as Insertion.” Music Review 52 : 279 -93. Kinderman, William. 1988 . “Thematic Contrast and Parenthetical Enclosure in the Piano Sonatas, op. 109 and 111.” In Zu Beethoven: Aufsätze und Dokumente , ed. Harry Goldschmidt, 43 -59. Berlin: Neue Musik. Kollmann, Augustus...
Journal Article
Journal of Music Theory (1 April 2016) 60 (1): 51–88.
Published: 01 April 2016
... Theme in the Eighteenth-Century Concerto.” Journal of Music Theory 44 / 2 : 381 – 450 . Gooley Dana . 2006 . “The Battle against Instrumental Virtuosity in the Early Nineteenth Century.” In Franz Liszt and His World , ed. Gibbs Christopher H. Gooley Dana , 75 – 111...
Journal Article
Journal of Music Theory (1 October 2006) 50 (2): 143–179.
Published: 01 October 2006
... . “The First Movement of Brahms's Second Symphony: The Opening Theme and Its Consequences.” Music Analysis 2 : 55 -68. ____. 2001 . “Elephants, Crocodiles, and Beethoven: Schenker's Politics and the Pedagogy of Schenkerian Analysis.” Theory and Practice 26 : 1 -20. Schenker, Heinrich...
Journal Article
Journal of Music Theory (1 October 2013) 57 (2): 383–418.
Published: 01 October 2013
... . Minneapolis : University of Minnesota Press . Kamien Roger . 2005 . “ Quasi-Auxiliary Cadences Beginning on a Root-Position Tonic Chord: Some Preliminary Observations .” Journal of Schenkerian Studies 1 : 32 – 43 . Kamien Roger Wagner Naphtali . 1997 . “ Bridge Themes within a...
Journal Article
Journal of Music Theory (1 April 2000) 44 (1): 1–43.
Published: 01 April 2000
..., demonstrate the impact melodic-harmonic conflicts can have on the dramatic unfolding of a musical artwork. The tonic key areas from these movements pose special difficulties for analysis of melodic diminution. In particular, each main theme emphasizes a pitch that is un- stable in the context of an opening...
Journal Article
Journal of Music Theory (1 October 2006) 50 (2): 277–290.
Published: 01 October 2006
..., Dittersdorf, Leduc, and Mozart—I would say that four (all except the Gluck) are clearly in sonata form: In each case, we have a first theme, a second theme in the dominant key, a development section moving to other keys, and then a return of both themes in the tonic in the recapitulation...
Journal Article
Journal of Music Theory (1 October 2004) 48 (2): 337–354.
Published: 01 October 2004
...) classed the G minor and A major Piano Quartets and the F minor Piano Quintet as being of higher quality, and he refers to op. 60 as frosty (1879, 222). Even Brahms’s sup- porters had doubts about the work and Florence May was particularly critical of the finale, saying: “its themes are lacking in...
Journal Article
Journal of Music Theory (1 April 2009) 53 (1): 95–136.
Published: 01 April 2009
... the opening melody returns, fulfilling our expectation for a more florid variation before closing the first section of the nocturne in B major. So far, the music has a pleasing sensuality, even if slightly innocent. The conventions of the nocturne lead us to hope that the theme will return in...