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theme types

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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 (2013) 57 (1): 151–158.
Published: 01 April 2013
... the context of a received tradition. For without the latter, to distinguish the unique from the conventional would be a purely arbitrary act” (11). Schmalfeldt adopts William Caplin’s neo-Schoenbergian taxonomy of theme types and formal functions (1999...
Journal Article
Journal of Music Theory (2020) 64 (2): 203–240.
Published: 01 October 2020
..., Horton still works with the basic suite of classical theme types and formal functions: the sentence and period, as well as presentation, continu- ation, cadence, antecedent/consequent, basic idea/contrasting idea, and so on. Unsurprisingly, many of Brahms s harmonic details are characteristic...
Journal Article
Journal of Music Theory (2000) 44 (2): 381–450.
Published: 01 October 2000
... the concept of “solo entry theme” as used throughout this essay, in contrast to other types of solo 384 openings. What sorts of connections between the solo entry theme and the main ritornello theme, if any, may be demonstrated? How common was such a theme among Mozart’s predecessors and contemporaries...
Journal Article
Journal of Music Theory (2013) 57 (2): 383–418.
Published: 01 October 2013
...,” perhaps just a second-level default as 18th-c. progresses) • Subordinate theme rhetoric without prior MC (TR of the dissolving restatement type switches to “independent, tonally stable TR of the lyrical variety) • “Wrong key” MC (the CF may accomplish the actual modulation...
Journal Article
Journal of Music Theory (2001) 45 (1): 31–71.
Published: 01 April 2001
... musical object can develop into a larger entity of considerable structural and expressive consequence. Enlargement is therefore one of the more com- pelling types of motivic association. Theorists have long been fascinated with the aspect of organicism that relates the small to the large...
Journal Article
Journal of Music Theory (2014) 58 (1): 25–56.
Published: 01 April 2014
... closing theme EEC Example 1 (continued).  Schumann, String Quartet in A minor, op. 41/1, I, graphs of exposition ative adaptation of one of several possible eighteenth-century expository types Schumann would have likely encountered in his study...
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 (2021) 65 (1): 107–137.
Published: 01 April 2021
... collaborators, Enrico Cecchetti, Antonietta Dell'Era, Lev Ivanov, and Marius Petipa, respond to and participate in these metrical dissonances. The first part of the article defines metrical dissonance, the processes that transform it, and the related but distinct phenomenon of metric type. The second part...
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Journal Article
Journal of Music Theory (2009) 53 (1): 1–56.
Published: 01 April 2009
...Scott Murphy The metric cube is a kind of graph of meters proposed as a complement to the types of metric spaces that have already been put forth in music-theoretic scholarship, particularly by Richard Cohn. Whereas Cohn's most recent kind of metric space (2001) can compare meters only...
Journal Article
Journal of Music Theory (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...
Journal Article
Journal of Music Theory (2015) 59 (2): 191–234.
Published: 01 October 2015
...-tone melodies by situating them within the context of the broader concept of aggregate melodies. These melodies divide into four types, which are also relevant for music by other composers, and can be further described in terms of the relative tightness or looseness of their structural features...
Journal Article
Journal of Music Theory (2000) 44 (1): 1–43.
Published: 01 April 2000
... theoretical discussion of these issues and return to the topic of pitch connections that stand on the border between association and prolongation. The possibility for connections of this type becomes clear from a look at the opening phrase of the Schubert piano sonata. The theme constitutes the first...
Journal Article
Journal of Music Theory (2020) 64 (2): 241–281.
Published: 01 October 2020
.... For the same reason, Rings s (2011: 83 88, 99) analysis of Wagner s Grail theme cannot directly transpose the I chord in E major to the vi chord in D major, and he demonstrates a work-around by adding additional waypoints and splitting graphs by transposition type. This formal limitation is caused by diatonic...
Journal Article
Journal of Music Theory (2016) 60 (1): 51–88.
Published: 01 April 2016
... The Main Theme in Its Expositional Context I begin with the main theme of the first movement as a context in which to establish the scope of my analysis and introduce concepts that will undergird my approach overall. In the process, I highlight, through italics...
Journal Article
Journal of Music Theory (2008) 52 (1): 75–122.
Published: 01 April 2008
... d’amour is recognizable by its focus on love, but some types, such as pas- tourelles and dances, also treat of love, in a specific way or with a specific form. At what point does “registral interference”—of theme, language, structure— so obscure a line of demarcation that a generic label becomes...
Journal Article
Journal of Music Theory (2021) 65 (1): 81–106.
Published: 01 April 2021
.... Table 1. Hypermetrical weight and grouping function for hyperbeats in the 1-2-3-4 schema Hyperbeat Type of attribute 1 2 3 4 Degree of metrical weight Primary weight Unweighted Secondary weight Unweighted Role in grouping unit Initiation Continuation Continuation...
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Journal Article
Journal of Music Theory (2006) 50 (2): 143–179.
Published: 01 October 2006
... these composers with one among a number of integrative strategies to counterbalance the threat of self-contained lyricism in the middle sections of their tripartite expositions. In one type of expositional context, this integration involves harmonic linkage designed specifically to efface a formal boundary...
Journal Article
Journal of Music Theory (2020) 64 (1): 63–103.
Published: 01 April 2020
... to regard generic space as “diatonic,” the examples demonstrate that generic structure governs many sequences that are not actually diatonic at all. The examples also show that the sequences found in the literature include many more types than are widely recognized and that generic sequence structure may...
Journal Article
Journal of Music Theory (2006) 50 (2): 181–210.
Published: 01 October 2006
... in the Eighteenth-Century Sonata 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...