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formal-structure

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Journal Articles
The Journal of Musicology. 1991; 92145–164 doi: https://doi.org/10.2307/763550
Published: 01 April 1991
... letzten Sonaten. Sonate E Dur Op. 109 1971 Formal and Tonal Organization in a 17th-Century Ritornello/Ripieno Structure EVA LINFIELD Length, as such, is hardly a criterion of aes- thetic assessment. (The last movement of Schubert's Great C major symphony, for example, is not "heavenly" merely by...
Journal Articles
The Journal of Musicology. 2016; 334433–482 doi: https://doi.org/10.1525/jm.2016.33.4.433
Published: 01 October 2016
... sans orchestre , Op. 14, to violent forces of nature to illustrate the way its virtuosic passagework disrupts and engulfs lyrical themes within an anomalous formal structure. They also linked the Toccata, Op. 7, and Etudes symphoniques , Op. 13, to Beethoven, hinting at the ways in which Schumann...
Journal Articles
The Journal of Musicology. 2017; 344515–558 doi: https://doi.org/10.1525/jm.2017.34.4.515
Published: 01 October 2017
... but is also about sonata form, just as it is not merely in C major but is also about C major.34 The tonal and formal references go hand in hand. As others have noted, the Piano Sonata in G Major, op. 31/1 (ex. 4b) is so structurally similar to the Waldstein that, despite their very 32 This example...
Journal Articles
The Journal of Musicology. 2016; 334483–521 doi: https://doi.org/10.1525/jm.2016.33.4.483
Published: 01 October 2016
... attention of scholars concerned with the epistemic soundness of sonata form theories. Most conspicuously, the absence in the recapitulation of what seems to be on first hearing the main theme generates a formal paradox that challenges the theoretical models devised to analyze sonata forms. This article...
Journal Articles
The Journal of Musicology. 2012; 293292–322 doi: https://doi.org/10.1525/jm.2012.29.3.292
Published: 01 August 2012
...Yoel Greenberg Analytic practice usually attempts to bridge the gaps between formal sections in a single movement or work by identifying thematic connections, syntactic logic, or structural cohesiveness. The gap itself is viewed as a foreground obstacle to be smoothed over by analytic insights...
Journal Articles
Journal of Musicology. 2020; 372123–157 doi: https://doi.org/10.1525/jm.2020.37.2.123
Published: 11 May 2020
... were decades in which urbanization, emerging cultures of capitalism, and shifting epistemologies of sensory experience became catalysts for new formal structures in poetry and painting structures epitomized by the prose poems of Baudelaire and the pastoral realism of Manet.9 In a recent study of...
Journal Articles
Journal of Musicology. 2020; 372197–230 doi: https://doi.org/10.1525/jm.2020.37.2.197
Published: 11 May 2020
... unexpectedly replaces the work s principal theme just as the piece returns to its opening key. In this way the section of the nocturne functions similarly to the finale of Concert champe tre, avoiding the main theme at the point of the work s rhetorical completion. Yet this rejection of formal norms is not an...
Journal Articles
Journal of Musicology. 2020; 372231–266 doi: https://doi.org/10.1525/jm.2020.37.2.231
Published: 11 May 2020
Journal Articles
The Journal of Musicology. 2020; 37163–93 doi: https://doi.org/10.1525/jm.2020.37.1.63
Published: 01 January 2020
...- ute to pedagogical understandings of scientific practice. First is Kuhn s suggestion that science functions primarily as a craft rather than an organized collection of formal propositions. From this perspective, sci- entific fields are held together not only by the circulation of abstract knowledge...
Journal Articles
The Journal of Musicology. 2020; 37139–50 doi: https://doi.org/10.1525/jm.2020.37.1.39
Published: 01 January 2020
... dialogue with Orientalism, had Oriental Studies remained vibrant in France and especially in Britain, had sociology become an institutional arm of the state abroad as it was at home, cultural anthropology s niche and formalization would have been different. Trouillot, Global Transformations: Anthropology...
Journal Articles
Journal of Musicology. 2019; 364498–522 doi: https://doi.org/10.1525/jm.2019.36.4.498
Published: 01 October 2019
...: to unite all of Spain under a Visigothic monarchy that was Nicene Christian. Leander had labored to bring about the conversion of the Visigoths from the Arian heresy; with the conversion of King Reccared in 587, the union of the Visigoths and the native Hispano-Roman Catholic population was formally...
Journal Articles
Journal of Musicology. 2019; 363295–330 doi: https://doi.org/10.1525/jm.2019.36.3.295
Published: 01 July 2019
... and their performance within a governing structure that prized spiritual and corporate participation are therefore brought together here to give a broader view of Florentine practices. Through the motet, Florentine - in Richard C. Trexler, Church and Community, 1200 1600: Studies in the History of...
Journal Articles
The Journal of Musicology. 2019; 362131–166 doi: https://doi.org/10.1525/jm.2019.36.2.131
Published: 01 April 2019
... in their formal structure. Their notated tenors are the same length, 56 breves (a number that will become important later), although Nuper rosarum flores has an additional Amen that stands outside the tenor s repeating structure, adding slightly to the motet s overall length. Moreover, both works...
Journal Articles
The Journal of Musicology. 2019; 362195–227 doi: https://doi.org/10.1525/jm.2019.36.2.195
Published: 01 April 2019
... Chaikovsky’s economic agency than has been attempted previously, this article thus contributes to a growing body of work on the institutional structures that shaped the Russian arts in the nineteenth century. © 2019 by The Regents of the University of California 2019 Petr Il'ich Chaikovsky Petr...
Journal Articles
The Journal of Musicology. 2019; 3611–38 doi: https://doi.org/10.1525/jm.2019.36.1.1
Published: 01 January 2019
... music seems to lose its mind as well: formal structure disintegrates in the wake of Agrippina s outburst, reeling through sections of example 1. Paolo Magni, L Agrippina (US-BEm, ms. 1180), act 3 scene 15, mm. 1 47, 62 93 the journal of musicology 16 accompanied recitative and what seems like an...
Journal Articles
The Journal of Musicology. 2019; 36139–67 doi: https://doi.org/10.1525/jm.2019.36.1.39
Published: 01 January 2019
... deformity is a structure of parts, which conveys pain. the journal of musicology 44 Kant s view), while taking as their content the same sensuous realm of experience as scientific knowledge. They serve, therefore, as a bridge over the gulf. Such a bridge would remain merely formal or theoretical were it...
Journal Articles
The Journal of Musicology. 2019; 36196–129 doi: https://doi.org/10.1525/jm.2019.36.1.96
Published: 01 January 2019
... has made a start in a recent article.37 The argument, however, can be tendentious in places, espe- cially concerning the forces behind the censuring of the most prominent Soviet composers for formalism in 1948. The backstage, bureaucratic, behind-the-scenes [or under-the-rug, qpelpcgro9f] battles...
Journal Articles
The Journal of Musicology. 2018; 354498–534 doi: https://doi.org/10.1525/jm.2018.35.4.498
Published: 01 October 2018
... Drama: Structure, Style, and Process in Fidelio, both in Paul Robinson, Ludwig van Beethoven: Fidelio (Cambridge: Cambridge University Press, 1996), 51 67 (Charlton) and 101 31, at 102, 104 (Tusa). On the likelihood that Beethoven drew inspiration from Pierre Gaveaux s setting of Bouilly s original...
Journal Articles
The Journal of Musicology. 2018; 354460–497 doi: https://doi.org/10.1525/jm.2018.35.4.460
Published: 01 October 2018
... between the Habsburg court and Rauch, nor is there evidence that Rauch formally presented the print to the Emperor.7 Likemany patents fromthe seventeenth century, the imperial printing patent has not survived.8 Little documentation exists on the Viennese printer, Matthaeus Rickhes (Rictius).9 All that is...
Journal Articles
The Journal of Musicology. 2018; 354535–566 doi: https://doi.org/10.1525/jm.2018.35.4.535
Published: 01 October 2018
... compositions for recording and publication. Fromm was a busy man and, lacking a formal music education, he was also insecure about his ability to assess complex scores. He had taken piano lessons as a child and began them again as an adult in Chicago. Although he liked to follow scores while listening to music...