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tonic

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Journal Article
Journal of Music Theory (2000) 44 (2): 451–485.
Published: 01 October 2000
...Lauri Suurpää THE PATH FROM TONIC TO DOMINANT IN THE SECOND MOVEMENT OF SCHUBERT’S STRING QUINTET AND IN CHOPIN’S FOURTH BALLADE Lauri Suurpää Introduction In Free Composition Schenker...
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 (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 (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 (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 (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 (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 (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
... 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 of foreground melodic diminution can be the source...
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
... I. Harmonic Logic.7 [9] 1. Cadence. M. Hauptmann would 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...
Journal Article
Journal of Music Theory (1999) 43 (2): 257–281.
Published: 01 October 1999
...- mance consists of three sections featuring chromatic third relations (≤VI-I or ≤III-I), each followed by a section featuring chromatic descent to a cadence—a striking revision of the tonal structure. The ≤VI and ≤III chords are, of course, derived by mixture from the tonic minor key. The very old...
Journal Article
Journal of Music Theory (2000) 44 (1): 81–99.
Published: 01 April 2000
... the logical meaning of the tonic, subdominant, and dominant Hauptakkorde, with reference to a paradigm he calls the grosse 83 Cadenz. This progression, which we shall return to momentarily, is exalted as the “prototype of all musical form” [11...
Journal Article
Journal of Music Theory (2016) 60 (2): 149–180.
Published: 01 October 2016
... progression as anything other than a true cadence to tonic. Second, the IV–I cadence contrasts with other cadences in this same song based on the more traditional V chord. The half cadence in m. 7 is on V, and the structural cadence that ends the chorus section is V–I. These facts challenge some...
Journal Article
Journal of Music Theory (2014) 58 (1): 25–56.
Published: 01 April 2014
...-fill so that the local C tonic enters in six-three rather than root position. This in itself would not necessarily dis- avow second-theme status, but the decrescendo of the caesura-fill is answered by an unsettling subito forte and declamatory dotted rhythm...