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Published: 01 April 2021
Example 10. The first two dance positions of the first movement and the first two dance positions of the third-movement climax, compared. BWV 1043, mvt. 1, m. 1; mvt. 3, m. 127. More
Journal Article
Journal of Music Theory (2019) 63 (1): 103–138.
Published: 01 April 2019
...Peter H. Smith This article explores musical and theoretical issues raised by a particular type of parallel form that has been interpreted in two strikingly contradictory ways—either as a birotational type 2 sonata form or as a sonata form with a reversed recapitulation. Insights drawn from...
Journal Article
Journal of Music Theory (1999) 43 (1): 135–163.
Published: 01 April 1999
...Robert P. Morgan 1999 © Yale University, New Haven, Connecticut 06520 1999 ARE THERE TWO TONAL PRACTICES IN NINETEENTH-CENTURY MUSIC? Robert P. Morgan Article/review of The Second Practice of Nineteenth-Century Tonality, William Kinderman and Harald Krebs...
Journal Article
Journal of Music Theory (2006) 50 (2): 181–210.
Published: 01 October 2006
...Lauri Suurpää This study examines interactions among form, Schenkerian voice-leading structure, and certain dramatic features in two Mozart expositions: the second movement of the G-minor symphony, K. 550, and the opening movement of the G-minor string quintet, K. 516. The analyses frequently...
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Published: 01 October 2021
Figure 4. The rhythms of first two parts of Music for Pieces of Wood (a and b) and a different truncation of the first rhythm (c). More
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Published: 01 April 2022
Figure 9a. Quinn's fuzzy C + SIM formula for two fuzzy contours (Quinn 1997 : 257). More
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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 . More
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Published: 01 April 2023
Figure 3.2. The two forms of the melody are produced by the same algorithm, interchanging the terms third-step trichord and cluster . More
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Published: 01 April 2023
Figure 3.5. Two exact analyses by Allen Forte. A . Measure 17 of Schoenberg's Herzgewächse op. 17. B . The opening of Schoenberg's op. 11/1, analyzed in Figure 3.1. More
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Published: 01 April 2023
Figure 4.6. A reduction of mm. 4–6 of Rite of Spring , along with two recompositions that shift the parallel motion to other pairs of voices. This moves the position of the gapped quartal voicings. More
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Published: 01 April 2023
Figure 21. Two realizations of Intermission 6 depicted in inversional pitch center versus semitonal span performance space, by (a) Sabine Liebner and (b) Philip Thomas (second version). More
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Published: 01 April 2023
Figure 23. Two hypothetical “once-through” performances of Intermission 6 depicted in inversional pitch center versus semitonal span performance space: (a) a minimally contrasting performance (smallest average distance traversing each vertex once) and (b) a maximally contrasting performance More
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Published: 01 October 2023
Example 13. “Ecco, Silvio,” mm. 29–45; open brackets in mm. 34–37 show a two-voice stretto fuga; open brackets and diagonal lines in mm. 39–44 show a four-voice stretto fuga. More
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Published: 01 October 2023
Example 1. Lutosławski's “Morze,” Iłłakowicz Songs : mm. 20–23. The two lists of pitch classes represent the registral ordering of pitches, from lowest to highest. More
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Published: 01 October 2023
Figure 10. The two twelve-tone chords that combine [0369] partitions in the song (climatic passage and final chord) and other “whole-tone” dyad tetrachords. More
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Published: 01 April 2024
Figure 2. Two meanings of tonality . More
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Published: 01 April 2021
Image 1. Two representations of a meter. More
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Published: 01 April 2021
Image 11. Diagrams of the last two figures of “Les spectacles.” More
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Published: 01 April 2021
Example 4. A Mozart theme in comparison to two themes from La Cuisse. More
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Published: 01 October 2021
Figure 28. The vibraphone part from Sextet iv (a) and its spectrum with those of the two canonic configurations (b). More