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Journal Article
Journal of Music Theory (2007) 51 (2): 187–210.
Published: 01 October 2007
...Matt BaileyShea This article analyzes Hugo Wolf's Auf eine Christblume I and II in relation to Robert Bailey's concept of the “double-tonic complex.” These songs project an intricate pairing of D and F# tonalities that often result in various hexatonic relationships. My interpretation associates...
Journal Article
Journal of Music Theory (2000) 44 (2): 451–485.
Published: 01 October 2000
... . “The Coda Wagging the Dog: Tails and Wedges in the Chopin Ballades.” In Nineteenth-Century Piano Music: Essays in Performance and Analysis , ed. David Witten. New York: Garland Publishing. THE PATH FROM TONIC
TO DOMINANT IN THE
SECOND MOVEMENT OF
SCHUBERT’S...
Image
in Benjamin Britten's Musical Characterization of the Madwoman in Curlew River
> Journal of Music Theory
Published: 01 April 2024
Example 1. At reh. 20 of Britten's Curlew River , a D-pedal tonic frames the Madwoman's inversionally symmetric melodies. (In the introduction to the published score [Britten 1983 : ix–x], Imogen Holst uses the term figure to refer to the ordered sequence of reference points within Curlew
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Journal Article
Journal of Music Theory (2019) 63 (1): 1–34.
Published: 01 April 2019
...Brett Clement This article establishes an expanded theory of tonicization for harmonic progressions in rock music. While previous discussions of tonicization have largely focused on the role of the V chord, this theory allows for a much larger number of tonicizing chords, which may articulate...
Journal Article
Journal of Music Theory (2015) 59 (2): 235–271.
Published: 01 October 2015
... of Morley's balletts reveals four primary “Englishing” techniques. First, Morley establishes and confirms tonic more thoroughly than the Italians do. Second, the dominant chord plays a larger role in Morley's balletts, often yielding predictive statement-response phrase structures. Third, Morley uses pre...
Journal Article
Journal of Music Theory (2017) 61 (2): 143–170.
Published: 01 October 2017
... of a chord root. I also consider which chord roots tend to open or close a section, as well as the distribution of chord qualities across sections. It is found that verse and chorus sections differ most strongly with respect to the length and proportion of tonic harmony, whereas verse and bridge sections...
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 (2020) 64 (2): 241–281.
Published: 01 October 2020
... (letter names without accidentals) of the tonic, and the note in question. From there one can infer other information, such as scale degree, mode, and la -minor solfège. In the construction of modal spelled pitch class, la -minor solfège is of equal importance to do -minor solfège, and subsequent analyses...
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 (2006) 50 (2): 253–275.
Published: 01 October 2006
... of the 5-6 cycle are separately considered. The 5-phase trajectories are classified as diatonic, idiosyncratic, or obstinate. Despite its long history and current dominance, the mode of analysis based on Roman numerals and tonicizations is eschewed for sequential progressions. Instead, the connective role...
Journal Article
Journal of Music Theory (2024) 68 (1): 59–88.
Published: 01 April 2024
... evolution narrative based on the European classical music tradition. It argues, furthermore, that scholarship can do away with the terms tonality and tonal music and would profit from instead using more specific terminology for musical features like tonics, major and minor keys, scale degrees, consonance...
Journal Article
Journal of Music Theory (2002) 46 (1-2): 364–368.
Published: 01 October 2002
... drop out of the picture. Rothstein would
like to make a rigid distinction between mixture, which is diatonic, and
tonicization, which is chromatic, but this is a distinction the text refuses
to sustain. While Schenker, in §136, does virtually equate tonicization
with chromaticism...
Journal Article
Journal of Music Theory (2002) 46 (1-2): 347–363.
Published: 01 October 2002
... distinction between mixture, which is diatonic, and
tonicization, which is chromatic, but this is a distinction the text refuses
to sustain. While Schenker, in §136, does virtually equate tonicization
with chromaticism, it is nevertheless impossible to separate these two
terms from mixture and diatonicism...
Journal Article
Journal of Music Theory (2006) 50 (2): 143–179.
Published: 01 October 2006
... contrapuntal motion within the refrain’s
closing F tonic allows the A section to anticipate the sound of the D point of
departure for the episode. Conversely, the reversal of the C–D melodic motion
An abridged version of this essay was read at the Fourth of Music, Yale University, December 9, 2005...
Journal Article
Journal of Music Theory (2001) 45 (1): 119–143.
Published: 01 April 2001
... in
the subtonic; another in the mediant; still others beginning in the domi-
nant! Nor are such innovations confined to a youthful daring: Schubert
indulged his penchant for beginning the thematic return away from the
tonic in sonatas composed throughout his career—from those written as
a young teenager...
Journal Article
Journal of Music Theory (2000) 44 (1): 1–43.
Published: 01 April 2000
...
unusual for basic analytical decisions to pose significant challenges. Such
fundamental determinations as boundaries for harmonic prolongations,
the hierarchical significance of tonicized Stufen, the relative structural sta-
tus of linear progressions, the identity of the Kopfton, and even analysis...
Journal Article
Journal of Music Theory (1999) 43 (1): 101–133.
Published: 01 April 1999
..., “Tonraum,” the quintessential melodic space in
the background, is effectively limited to an octave.3 In strict species coun-
terpoint, the cantus firmus must begin and end on the tonic (or modal
final), and cadences in two voices require arrival at an octave or unison
via contrary stepwise motion...
Journal Article
Journal of Music Theory (2005) 49 (2): 301–332.
Published: 01 October 2005
...). Bebop harmony of
the 1940s and 1950s is built on relatively simple elaborations of functional
progressions mostly within a tonic-dominant framework.5 Even so, the
differences between bebop harmony and Shorter’s harmony are to some
extent only a matter of degree, with Shorter greatly developing...
Journal Article
Journal of Music Theory (2000) 44 (1): 100–126.
Published: 01 April 2000
... have it that the satisfaction
given by the cadence C-F-G-C is due to the key’s being pointed at from
both sides, through a sounding of the tonic and its upper and lower dom-
inants;8 complete closure is then achieved by restriking the tonic.9 Haupt-
mann gives no clue, however, as to the dissimilar...
Journal Article
Journal of Music Theory (1999) 43 (2): 257–281.
Published: 01 October 1999
... from the
tonic minor key. The very old, perhaps legendary, association of the major
key with brightness and the minor with darkness can be illustrated typi-
cally by Donald Francis Tovey’s discussion of the psychological effects
of key relationships...
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