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violin

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Journal Article
Journal of Music Theory (1 October 2015) 59 (2): 191–234.
Published: 01 October 2015
... String Quartet and the first movement of the Sonata for Violin and Piano, showing how we can relate Shostakovich's aggregate melodies to their musical surroundings in a deeper and more detailed way. Stephen C. Brown is associate professor of music theory and coordinator of music theory and...
Journal Article
Journal of Music Theory (1 October 2013) 57 (2): 193–243.
Published: 01 October 2013
...” harmonies with vivid wind and percussion colors and “closely related” harmonies with string-centered sonorities. Introduction: Sensational wind colors versus expressive string sonorities a wind instrument is more definite, more articulate, more intelligible that that of a violin or cello...
Journal Article
Journal of Music Theory (1 October 1999) 43 (2): 349–358.
Published: 01 October 1999
... undoubtedly the transpositional/rotational section in the latter third of the Scherzo, mm. 46-69 (the shortened retrograde reprise appears in mm. 93–105). Here Berg set himself the task of aligning rows 2I3 (cello), 2PA (viola), 2P8 (violin II), and 2P5 (violin I) in continuous sixteenth notes, in twelve...
Journal Article
Journal of Music Theory (1 October 2009) 53 (2): 191–226.
Published: 01 October 2009
... exchange, including uous voice exchanges. At the time I did not understand the J. S. Bach, Chorale no. 169 (Riemenschneider numbering); significance of his observations. Now I do, and this article Beethoven, Piano Sonata op. 109, mvt. 3, and Violin Sonata is dedicated to him...
Journal Article
Journal of Music Theory (1 April 1999) 43 (1): 21–82.
Published: 01 April 1999
...) context. Section 3 elaborates three special kinds of join or meet relations between partitions, these relations having useful theoreti- cal and analytical properties to be developed later on. Section 4 studies partition meets and joins in a familiar passage from Arnold Schoenberg’s Violin Concerto...
Journal Article
Journal of Music Theory (1 April 2003) 47 (1): 41–101.
Published: 01 April 2003
... direct scalar descent from ∞ to ¡ in conjunction with a cadence to the tonic. At the end of phrase 3 the violin melody picks up the dotted rhythm from phrase 2 and carries it through until the final measure of the theme. Throughout phrase 4 the texture consists simply of the tune plus accompanimental...
Journal Article
Journal of Music Theory (1 April 2016) 60 (1): 51–88.
Published: 01 April 2016
... Brahms's Violin Concerto, op. 77.” American Brahms Society Newsletter 29 / 1 : 1 – 5 . Horton Julian . 2010 . “Symphonism and the Rehabilitation of Classical Form in the First Movement of Brahms' Piano Concerto no. 2, op. 83.” In Musicology without Frontiers: Essays in Honour of Stanislav...
Journal Article
Journal of Music Theory (1 October 2016) 60 (2): 213–262.
Published: 01 October 2016
Journal Article
Journal of Music Theory (1 October 2013) 57 (2): 245–286.
Published: 01 October 2013
... networks that he calls ski-hill graphs. Figure 5 provides the ski-hill graph that models the conflicting levels of 2 against 3 in m. 235 of Brahms’s Violin Sonata op. 78, i (shown in Example 3).8 While the entire measure lasts the full dotted whole note represented at the top of the ski-hill graph...
Journal Article
Journal of Music Theory (1 April 2012) 56 (1): 87–120.
Published: 01 April 2012
... Leading Agent Leading Agent 13 Violin I ff ff ff Leading Agent Leading Agent...
Journal Article
Journal of Music Theory (1 October 2006) 50 (2): 211–251.
Published: 01 October 2006
.... Matthews, Denis. 1978 . “Adrian Boult Lecture: Cadenzas in Piano Concertos.” Recorded Sound 68 : 723 -26. Melkus, Eduard. 1991 . “On the Problem of Cadenzas in Mozart's Violin Cadenzas,” trans. Tim Burris. In Perspectives on Mozart Performance , ed. R. Larry Todd and Peter Williams, 74 -91...
Journal Article
Journal of Music Theory (1 April 2003) 47 (1): 125–154.
Published: 01 April 2003
... Themes Before proceeding to analytical discussions, I wish to present one general observation about the use of beginning- and end-accented Example 5. Haydn, Sonata H. XVI:37, I, mm. 33–43 132 Example 6. Mozart, Sonata for Violin and Piano K. 454, I, mm. 48–58 phrases. Despite...
Journal Article
Journal of Music Theory (1 April 2005) 49 (1): 181–188.
Published: 01 April 2005
... suites, partitas, and overtures): for orchestra, flute and con- tinuo, keyboard (or lute), solo cello, and solo violin. This is a sizable body of music, encompassing 44 multimovement works and including some of Bach’s best-known instrumental pieces. It should be noted, though, that Beach...
Journal Article
Journal of Music Theory (1 April 2010) 54 (1): 25–36.
Published: 01 April 2010
... ask why it restricted its instrumental techniques so much (especially for the violin: just the occasional double or triple stop and a few pizzicati) and why it was so literal in its appropriation of classical sonata form. The 1803 “Kreutzer” Presto is a different animal, bold in its...
Journal Article
Journal of Music Theory (1 April 2010) 54 (1): 91–105.
Published: 01 April 2010
... (a) the texts themselves make no explicit quotation of others, and (b) they are historically understood as being “original writings” within their respective fields. (2) Local borrowing, exemplified by Alban Berg’s Violin...
Journal Article
Journal of Music Theory (1 April 2014) 58 (1): 25–56.
Published: 01 April 2014
... the Piano Quartet in E major, op. 47, and Violin Sonata in A minor, op. 105, for instance—ranking with♭ the outer movements of the A-minor Quartet among his most beautiful compositions. As in the Quartet, tonal pairing plays a vital role in these...
Journal Article
Journal of Music Theory (1 October 2004) 48 (2): 337–354.
Published: 01 October 2004
... . “Brahms and Schenker: A Mutual Response to Sonata Form.” Music Theory Spectrum 16 : 77 -103. Struck, Michael. 1991 “New Evidence of the Genesis of Brahms's G major Violin Sonata, op. 78.” The American Brahms Society Newsletter 9/1 : 5 -7. Swafford, Jan. 1997 . Johannes Brahms: A...
Journal Article
Journal of Music Theory (1 October 2000) 44 (2): 381–450.
Published: 01 October 2000
..., K. 491.” In Schenker Studies , ed. Hedi Siegel. Cambridge: Cambridge University Press, 107 –24. White, Chapell. 1981 . “First-Movement Form in the Violin Concerto from Vivaldi to Viotti.” In Music East and West: Essays in Honor of Walter Kaufmann , ed. Thomas Noblitt, 183 –97. New York...
Journal Article
Journal of Music Theory (1 April 2018) 62 (1): 145–154.
Published: 01 April 2018
... why some composers appear more often than others in these lessons, it is not difficult to surmise, for example, that the relative complexity of the diminutions found in the “Gavotte en Rondeaux” from the Violin Partita no. 3 in E major (the subject of lesson 6) would be the sort of feature...
Journal Article
Journal of Music Theory (1 October 2016) 60 (2): 181–212.
Published: 01 October 2016
... “twelve- cycle from act II, scene 3 of Berg’s Wozzeck. Both Perle tone tonality.” For an overview of Perle’s compositional (1977) and Headlam (1996) discuss this remarkable pas- system and how it intersects with interval cycles, see Perle sage and point out how the solo violin’s melodic line 1990...