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Journal Article
Journal of Music Theory (2020) 64 (1): 1–36.
Published: 01 April 2020
... actually happens in terms of what they expected to happen. Although expectation is frequently invoked when considering very local phenomena (e.g., step-by-step progressions) or very global ones (e.g., the action spaces of a sonata), it has not played a systematic role in the analysis of basic theme types...
Journal Article
Journal of Music Theory (2020) 64 (2): 203–240.
Published: 01 October 2020
... study of subordinate theme closure in Dvořák’s mature chamber music responds both to Horton’s interest in asynchrony between formal design and tonal structure and to his and Vande Moortele’s calls for expanding the range of composers included in these endeavors. Attention to a less studied composer...
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Published: 01 October 2022
Example 2. Chopin, Fantasy , mm. 127–43, exposition's closing theme: march integrated with chorale.
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Published: 01 October 2022
Example 4. Liszt, Piano Sonata in B minor, mm. 105–10 (subordinate theme 1, segment).
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Journal Article
Journal of Music Theory (2000) 44 (2): 381–450.
Published: 01 October 2000
... . 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 Classic-Romantic Descriptions...
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Published: 01 October 2022
Figure 4. Two analyses from Auerbach of the secondary theme from Rossini's overture to The Barber of Seville .
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in Approximate Set Theory: Chord Categories, Voicings, and Interval Cycles
> Journal of Music Theory
Published: 01 April 2023
Figure 1.6. The first theme of Mozart's Symphony no. 40, I, K. 550, opens with an octave-displaced tertian voicing of the G melodic minor scale.
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in Music in the Body: The Eighteenth-Century Contredanse and Hypermetrical Hearing
> Journal of Music Theory
Published: 01 April 2021
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in Danses Fantastiques : Metrical Dissonance in the Ballet Music of P. I. Tchaikovsky
> Journal of Music Theory
Published: 01 April 2021
Example 1. Metrical consonance in the berceuse theme (Lilac Fairy motif). Tchaikovsky, Sleeping Beauty , introduction, mm. 28–33.
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in Danses Fantastiques : Metrical Dissonance in the Ballet Music of P. I. Tchaikovsky
> Journal of Music Theory
Published: 01 April 2021
Example 9. Main waltz theme, transformed in the final presto . Tchaikovsky, Nutcracker , act 1, no. 9, Waltz of the Snowflakes, mm. 265–74.
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Journal Article
Journal of Music Theory (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 (2023) 67 (1): 71–98.
Published: 01 April 2023
...Benedict Taylor Abstract One of the most prominent characteristics of Johannes Brahms's approach to sonata form is the return to the tonic at the start of the second section (or “rotation”) for a restatement of the exposition's primary theme. Well-known examples include the finales of the First...
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Journal Article
Journal of Music Theory (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...
Journal Article
Journal of Music Theory (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...
Journal Article
Journal of Music Theory (2003) 47 (1): 125–154.
Published: 01 April 2003
... 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-clo.pdf...
Journal Article
Journal of Music Theory (2001) 45 (1): 119–143.
Published: 01 April 2001
... 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. The subdominant return of the movement’s opening theme at m. 42
ff...
Journal Article
Journal of Music Theory (2003) 47 (1): 41–101.
Published: 01 April 2003
... 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) and, more
rarely, vi (c minor)—and momentary borrowings from the parallel minor.
As such, in the context...
Journal Article
Journal of Music Theory (2013) 57 (1): 151–158.
Published: 01 April 2013
... 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 aesthetic...
Journal Article
Journal of Music Theory (2014) 58 (1): 25–56.
Published: 01 April 2014
..., 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 discussion implies that a two...
Journal Article
Journal of Music Theory (2006) 50 (2): 181–210.
Published: 01 October 2006
...-theme zone
186 Journal of Music Theory
• Absence of medial caesura, two-part division, and secondary-
theme zone.
• Three parts:
1) A brief initial thematic module.
2...
1
