Search Results for symmetry
1-20 of 89 Search Results for
The Journal of Musicology. 2011; 284369–417 doi: https://doi.org/10.1525/jm.2011.28.4.369
Published: 01 October 2011
... Ockeghem and his contemporaries. In particular, Ockeghem seems to have drawn on the line “et le moyen plain de paine et tristesse” (and the middle full of pain and sorrow) as inspiration for a series of complex references to center, symmetry, and mirror image in the canon’s musical structure and...
The Journal of Musicology. 2012; 293292–322 doi: https://doi.org/10.1525/jm.2012.29.3.292
Published: 01 August 2012
... section that follows. Haydn frequently—and most impressively in Symphonies 90, 91, and 92—forges a local melodic relationship between the adjacent edges of the two sections, with the moment of transition serving as an axis of symmetry. Furthermore, the “action” of the moment of transition on the music...
Journal of Musicology. 2020; 372158–196 doi: https://doi.org/10.1525/jm.2020.37.2.158
Published: 11 May 2020
... this pair of Viennese modernists. And it did so with such elegant symmetry and concision that Scherchen s pairing sparked a series of imi- tations throughout Germany. As shown in table 1, the two chamber sym- phonies were performed together at least five more times in the following years, making it...
The Journal of Musicology. 2008; 252143–182 doi: https://doi.org/10.1525/jm.2008.25.2.143
Published: 01 April 2008
... Berg sought to create a large-scale symmetry with this return, he also posited a link between marriage and prostitution that did not exist in Wedekind's texts. Significantly, Berg was not alone in equating these two institutions; numerous Victorian writers had already made arguments in this regard. In...
The Journal of Musicology. 2019; 362228–260 doi: https://doi.org/10.1525/jm.2019.36.2.228
Published: 01 April 2019
The Journal of Musicology. 2019; 36168–95 doi: https://doi.org/10.1525/jm.2019.36.1.68
Published: 01 January 2019
.... Furthermore, in its per- fect symmetry and conventional harmonic movement, the theme seems deliberately transparent more like the open, artless soul Byron says is the opposite of his Harold. We might hear this theme as an ironic take on symphonic first themes. In its obvious simplicity, perhaps Harold s...
The Journal of Musicology. 2018; 352183–222 doi: https://doi.org/10.1525/jm.2018.35.2.183
Published: 01 April 2018
The Journal of Musicology. 2017; 344515–558 doi: https://doi.org/10.1525/jm.2017.34.4.515
Published: 01 October 2017
The Journal of Musicology. 2017; 341115–147 doi: https://doi.org/10.1525/jm.2017.34.01.115
Published: 01 January 2017
... acculturated vis-a`-vis Rome as was Dreyfus to France) daughter of Herod Agrippa, the nominal queen, was turned into a morality play about the symmetry between the happiness of intimacy and love and the pursuit of truth and justice in the public sphere. Magnard s Be´re´nice is Captain Dreyfus after 1906. Titus...
The Journal of Musicology. 2015; 323328–345 doi: https://doi.org/10.1525/jm.2015.32.3.328
Published: 01 July 2015
... 2015 inganno musical symbolism musical symmetry Jacobus Vaet Videns Dominus Adrian Willaert Motive, Structure and Meaning in Willaert s Motet Videns Dominus CHRISTOPHER REYNOLDS The ways in which composers and artists tell stories and convey meaning necessarily vary, but they also have...
The Journal of Musicology. 2015; 323367–409 doi: https://doi.org/10.1525/jm.2015.32.3.367
Published: 01 July 2015
... musical traits.27 In his description of the weeping women and the fall back into deep and customary weeping Glarean acknowledges the symmetry of the text and Pesenti s musical response.28 Phrygian mode and subdued rhythms suit both the opening lament and the closing expression of calm faith. The middle...
Includes: Supplementary data
The Journal of Musicology. 2015; 32178–114 doi: https://doi.org/10.1525/jm.2015.32.1.78
Published: 01 January 2015
The Journal of Musicology. 2014; 314503–540 doi: https://doi.org/10.1525/jm.2014.31.4.503
Published: 01 October 2014
... against exact repetition: In practice one never repeats a non-retrogradable rhythm, precisely because this repetition does not bring about any- thing new To avoid stasis, Messiaen alters the central or outer values with each repetition, constructing a second symmetry out of the first. Olivier Messiaen...
The Journal of Musicology. 2014; 314395–430 doi: https://doi.org/10.1525/jm.2014.31.4.395
Published: 01 October 2014
The Journal of Musicology. 2014; 312231–271 doi: https://doi.org/10.1525/jm.2014.31.2.231
Published: 01 April 2014
The Journal of Musicology. 2014; 31191–138 doi: https://doi.org/10.1525/jm.2014.31.1.91
Published: 01 January 2014
The Journal of Musicology. 2013; 304461–501 doi: https://doi.org/10.1525/jm.2013.30.4.461
Published: 01 October 2013
... the Chantilly Codex (Bibliothe`que Du Cha teau De Chantilly, Ms. 564), ed. Yolanda Plumley and Anne Stone (Turnout: Brepols, 2010), 115. In arguing that the Chantilly scribe was often more interested in the symmetry of page-layout resulting from the journal of musicology 476 figure 7. In virtute...
The Journal of Musicology. 2013; 303287–329 doi: https://doi.org/10.1525/jm.2013.30.3.287
Published: 01 July 2013
... appears in G major, while in the recapitulation it appears first in D before re- appearing in B major. Of course, this example differs from the ones above in that the principle of transposition by descending fifth is evidently replaced by the principle of symmetry: the second theme in the exposition...