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Journal Article
Journal of Music Theory (2000) 44 (2): 381–450.
Published: 01 October 2000
...Joel Galand THE LARGE-SCALE FORMAL ROLE OF THE SOLO ENTRY THEME IN THE EIGHTEENTH-CENTURY CONCERTO Joel Galand Introduction There is something about Mozart’s piano concertos that rarely fails to draw out the poet...
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Published: 01 April 2021
Example 4. A Mozart theme in comparison to two themes from La Cuisse. Example 4. A Mozart theme in comparison to two themes from La Cuisse. More
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Published: 01 April 2021
Example 1. Metrical consonance in the berceuse theme (Lilac Fairy motif). Tchaikovsky, Sleeping Beauty , introduction, mm. 28–33. Example 1. Metrical consonance in the berceuse theme (Lilac Fairy motif). Tchaikovsky, Sleeping Beauty, introduction, mm. 28–33. More
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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. Example 9. Main waltz theme, transformed in the final presto. Tchaikovsky, Nutcracker, act 1, no. 9, Waltz of the Snowflakes, mm. 265–74. More
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...
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 (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 (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 (2003) 47 (1): 125–154.
Published: 01 April 2003
... words, there is a short anacrusis. The theme of Mozart’s 40th Symphony (Example 1c) is “acutely out of phase,” since the strongest beat of each group (in most cases) occurs at or near the end of the group. Again, this applies at multiple levels; at the lowest level (marked as level 1), the strongest...
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
... even defining—the quest that Beethoven would pursue in this medium. The sixth quartet of opus 76, in E≤ major, has been generally recognized as a work of special significance, due to its unusual design—beginning with an imposing variations movement based on a rather cryptic, understated theme...
Journal Article
Journal of Music Theory (2013) 57 (1): 151–158.
Published: 01 April 2013
... or is it the main theme proper? For Dahlhaus, “the ambiguity should be understood as an aesthetic quality. . . . [Critics] would do better to under- stand these ‘antitheses’ as the vehicle of a dialectics, by means of which the form of the movement comes into being as a musically perceived transformational pro...
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
... Exposition.” Music Theory Spectrum 19 : 115 -54. ____. 2006 . Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata . New York: Oxford University Press. Kamien, Roger and Naphtali Wagner. 1997 . “Bridge Themes within a Chromaticized Voice Exchange...
Journal Article
Journal of Music Theory (2012) 56 (1): 87–120.
Published: 01 April 2012
... 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 (C minor), followed by a distinct...
Journal Article
Journal of Music Theory (2000) 44 (1): 1–43.
Published: 01 April 2000
... 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 tonic expansion. In the sonata, 6ˆ per- sists throughout much...
Journal Article
Journal of Music Theory (2006) 50 (2): 143–179.
Published: 01 October 2006
... extends beyond this general relationship. Motivic status for the Neapolitan emerges more specifically in the second theme’s continued emphasis on ≤II. Note that the A≤ theme of m. 27 even remains focused on the more charac- 152 Journal of Music Theory teristic fl‰ position...
Journal Article
Journal of Music Theory (2006) 50 (2): 211–251.
Published: 01 October 2006
... Press. Isaacs, Nicholas Stephen. 1986 . “The Keyboard Cadenza.” D.M.A. diss., Stanford University. Kielian-Gilbert, Marianne. 2003 . “Interpreting Schenkerian Prolongation.” Music Analysis 22 : 51 -104. Kimball, G. Cook. 1991 . “The second Theme in sonata Form as Insertion.” Music...
Journal Article
Journal of Music Theory 9930889.
Published: 08 September 2022
... the elev­ ated theme of the chorale type but also var­i­ous kinds of march. Mazel then treats the last two as topi­cs or, in the latt­er s case, a top­ic­ al cat­e­gory. In his dis­cus­sion of what he calls the Fantasy s prol­ogue (mm. 1 42),14 Mazel (1937: 54) shows how Chopin jux­ta­poses the topi­cs...