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Journal Article
Journal of Music Theory (1 October 2013) 57 (2): 193–243.
Published: 01 October 2013
...Jeffrey DeThorne Correlating particular instrumental colors with pitch chromaticism, three early twentieth-century scholars demonstrate how a methodical use of colorful winds, less colorful strings, and wind-string mixtures informed actual orchestrational practices. After demonstrating how Wagner’s...
Journal Article
Journal of Music Theory (1 April 2000) 44 (1): 231–236.
Published: 01 April 2000
... by recent composers. Cross traces “Block Forms” in chapter two from Picasso to Stravinsky (Petrushka, the Rite of Spring, and the Symphonies of Wind Instruments), and thence to Varèse (Amériques), Messiaen (Cantéyodjayâ and Couleurs de la cité céleste), Stockhausen (Klavierstück IX and Momente...
Journal Article
Journal of Music Theory (1 October 2004) 48 (2): 295–324.
Published: 01 October 2004
... Studies.” In Analytical Strategies and Musical Interpretation , ed. Craig Ayrey and Mark Everist, 271 -87. Cambridge: Cambridge University Press. Rehding, Alexander. 1998 . “Toward a `Logic of Discontinuity' in Stravinsky's Symphonies of Wind Instruments: Hasty, Kramer and Straus Reconsidered...
Journal Article
Journal of Music Theory (1 April 2001) 45 (1): 1–29.
Published: 01 April 2001
... 1 shows aspects of an imaginary passage for strings (bass clef) and winds (treble clef). The strings (at a piano dynamic, making fre- quent bow changes) sustain an “Ode to Napoleon” hexachord, labeled “OTN” on the example. The winds (playing louder) make figuration based on forms of a hexachord H...
Journal Article
Journal of Music Theory (1 October 2001) 45 (2): 435–456.
Published: 01 October 2001
...: a wooden idiophone in this instance. Similarly, a wind instrument that is not blown but tapped with stops or pistons is not an aerophone but a metal idiophone. This last “percussive effect” occurs in Fluorescences as a rep- resentative of class “mm,” and it is the only instance of winds in Pen...
Journal Article
Journal of Music Theory (1 October 2012) 56 (2): 285–291.
Published: 01 October 2012
... paragraph, because I am one of those named along with van den Toorn as having under- 1  For the phrase “consistency, identity and distinction,” see van den Toorn 1983, xv; he adds “insulation” at 339 when discussing the Symphonies of Wind Instruments. Journal of Music Theory  56:2, Fall 2012...
Journal Article
Journal of Music Theory (1 October 2008) 52 (2): 181–218.
Published: 01 October 2008
... Hans Engel. It is the term of unique self-sufficiency of the piano to stand alone in the choice in Plantinga 1999 and also in Hepokoski and Darcy first phrase. In comparison, the display episodes of Mozart’s 2006. Credit for the English locution seems to belong to wind and...
Journal Article
Journal of Music Theory (1 April 2013) 57 (1): 131–149.
Published: 01 April 2013
Journal Article
Journal of Music Theory (1 October 2014) 58 (2): 257–263.
Published: 01 October 2014
... mathematical completeness. The interval (5th, 10) transforms the open- ing bass lament in Don Giovanni, the chromaticized tetrachord descending from (1ˆ, D) to (5ˆ, A) in d minor, into the chromatic tetrachords sounded in the winds upon the Commandatore’s death...
Journal Article
Journal of Music Theory (1 October 2016) 60 (2): 181–212.
Published: 01 October 2016
Journal Article
Journal of Music Theory (1 April 2001) 45 (1): 170–176.
Published: 01 April 2001
... natural constraints apply to which singers or wind players are subject by the need to breathe or string players by the motions of bowing” (xiii). 4. This is especially true today with the gruelling concert schedules faced by many performers. I once heard someone (I think it was Leon Fleisher...
Journal Article
Journal of Music Theory (1 April 2010) 54 (1): 75–90.
Published: 01 April 2010
... augmented by a healthy percussion ern, see Metzer 2009, 205. Amy Bauer    Cavell and the Critique of New Music 87 attacks that become chords, and then glissandi (in strings) and repeated clus- ters (in brass, winds, and percussion). Midway through, this climactic gesture...
Journal Article
Journal of Music Theory (1 October 1999) 43 (2): 257–281.
Published: 01 October 1999
..., although containing 13 motions, spaces them in a much more relaxed and expansive way than chorus 6, leading to the winding-down of the coda. Therefore the timing and spacing of these linear motions create a sense of increased tension through choruses 1–3, with a release of tension at the start of...
Journal Article
Journal of Music Theory (1 October 2013) 57 (2): 321–371.
Published: 01 October 2013
Journal Article
Journal of Music Theory (1 October 2000) 44 (2): 381–450.
Published: 01 October 2000
... Symphonia Concertante for Four Winds and Orchestra.” Mozart Jahrbuch 1976/77 , 70 –96. Louwenaar, Karyl. 1974 . The Keyboard Concertos of Christoph Schaffrath (1709-1763) . Ph.D. diss., University of Rochester. Marx, A. B. 1845 . Die Lehre von der musikalischen Komposition , vol. 3 . Leipzig...
Journal Article
Journal of Music Theory (1 October 2006) 50 (2): 291–301.
Published: 01 October 2006
...- dropping, harkening, listening-to, listening-in, overhearing, catching wind, lending an ear, in which the active, orientational-intentional character of “hearing” resonates. With this exclusion of the hearer from the investigation of...
Journal Article
Journal of Music Theory (1 April 2001) 45 (1): 151–162.
Published: 01 April 2001
... Michael Haydn; almost bar by bar the same rhythm, even in the winds” (231).31 A broadcast in 1926 by the baritone Mattia Battistini elicits the following: “Radio: Bat[t]istini! A true marvel of bel canto, but also a physical marvel: marvelous the breath control, which keeps the air chan- nel always...
Journal Article
Journal of Music Theory (1 October 2007) 51 (2): 211–243.
Published: 01 October 2007
Journal Article
Journal of Music Theory (1 October 2009) 53 (2): 163–190.
Published: 01 October 2009
... Interesting and Amusing Acoustical and Optical Phenomena.” In The Scientific Papers of Sir Charles Wheatstone , 21 –29. London: Physical Society. ____. 1829 . “Improvements in the Construction of Wind Musical Instruments.” British Patent No. 5803. ____. [1833] 1879 . “On the Figures Obtained by...
Journal Article
Journal of Music Theory (1 April 2008) 52 (1): 159–180.
Published: 01 April 2008
... from the senses was not to be trusted before being subjected to the rational judgment of the intellect. Musica instrumentalis was further subdivided into musica organica (produced by blowing on wind instruments) and musica ritmica (produced by...