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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. Example 10. The first two dance positions of the first movement and the first two dance positions of the third More
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Published: 01 April 2021
Image 1. Two representations of a meter. Image 1. Two representations of a meter. More
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...
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...
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Published: 01 April 2021
Image 11. Diagrams of the last two figures of “Les spectacles.” 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. Example 4. A Mozart theme in comparison to two themes from La Cuisse. More
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 (2008) 52 (2): 219–249.
Published: 01 October 2008
...Justin Hoffman Recent music-theoretical research has proposed two ways of mapping the pitch-class set universe. Fourier spaces, constructed by Quinn, relate sets to one another based upon their composition from members of interval cycles, reflecting what might be called “harmonic quality.” Voice...
Journal Article
Journal of Music Theory (2009) 53 (2): 227–254.
Published: 01 October 2009
...Dmitri Tymoczko Taking David Lewin's work as a point of departure, this essay uses geometry to reexamine familiar music-theoretical assumptions about intervals and transformations. Section 1 introduces the problem of “transportability,” noting that it is sometimes impossible to say whether two...
Journal Article
Journal of Music Theory (2012) 56 (1): 53–86.
Published: 01 April 2012
...–A) in the first piano piece. Scholars have noted this revision, acknowledging Brahms’s role as the anonymous editor of these pieces. Yet why Schubert crossed out this entire section in the manuscript remains unanswered. Focusing on the first two Klavierstücke , since both occur within the same manuscript...
Journal Article
Journal of Music Theory (2016) 60 (2): 97–148.
Published: 01 October 2016
... concerns how independent these two parameters are from one another: in different accounts they range from completely independent to strongly—even necessarily—correlated. This article argues that these two questions are not logically independent of each other, because a strong correlation between parameters...
Journal Article
Journal of Music Theory (2009) 53 (1): 1–56.
Published: 01 April 2009
... if they interpret the same time span, metric cubes permit the comparison of meters that interpret different time spans. Furthermore, a metric cube posits a different kind of adjacency relation: while Cohn's most recent metric space connects two meters if their ordered pulse representations differ by only one pulse...
Journal Article
Journal of Music Theory (2014) 58 (1): 25–56.
Published: 01 April 2014
...Peter H. Smith Commentators have traditionally judged Schumann’s sonata forms negatively, despite recent positive reassessments. In the response to Schumann’s expositions, even two of his most insightful advocates, Linda Correll Roesner and Anthony Newcomb, portray Schumann’s designs...
Journal Article
Journal of Music Theory (2010) 54 (2): 235–282.
Published: 01 October 2010
...Danuta Mirka Two closely interrelated techniques of phrase expansion occasionally used by eighteenth-century composers but so far not recognized by music theorists are twisted caesuras and overridden caesuras . Both of them represent complex games played by composers with their listeners on two...
Journal Article
Journal of Music Theory (2017) 61 (2): 143–170.
Published: 01 October 2017
..., and bridge sections in a corpus of two hundred rock songs. I begin with an overview of the corpus itself, followed by a discussion of my methodology. I then present the results of my study, which quantifies harmony via two main approaches: the proportion of time spent on a chord root and the average duration...
Journal Article
Journal of Music Theory (2017) 61 (2): 243–287.
Published: 01 October 2017
...Christopher Segall Numerous late twentieth-century composers grappled with the problem of using triads in non-tonal ways. Alfred Schnittke’s atonal music of 1974–85 offers a solution by relying on three triad-to-triad relations: P (parallel), S (slide), and M (minor third). The first two...
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Published: 01 April 2021
Figure 1. Footwork pattern for the on-1 salsa basic (single dancer, bird's-eye perspective on floor). Dark footprints = active feet (motion); light footprints = inactive feet (no motion). This footwork is from the follow's perspective. To obtain the lead's footwork, switch the two temporal More
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Published: 01 April 2021
Example 1a. Choreographic 4-layer against the music's 2- and 6-layers (1 = eighth). Dancers' counts are notated above the dance staff. Each dance count “4” is marked choreographically. J. S. Bach, Concerto in D minor for Two Violins, BWV 1043, mvt. 3, mm. 127–30. Example 1a. Choreographic 4 More
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Published: 01 April 2021
the lead's footwork, switch the order of the two measures. Figure 2. Footwork pattern for the on-1 salsa basic (single dancer on score, noting contour and durational accents). C = large contour accent; c = small contour accent; D = (interonset) durational accent; R = right foot; L = left foot More