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Articles 1 - 6 of 6
Full-Text Articles in Arts and Humanities
The Early Schenkerians And The "Concept Of Tonality", John Koslovsky
The Early Schenkerians And The "Concept Of Tonality", John Koslovsky
Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic
This essay investigates the role that a single expression played during the years when Schenker’s ideas began to disseminate en masse, the so-called “concept of tonality.” In particular, it examines how three key Schenker disciples—Oswald Jonas, Felix Salzer, and Adele Katz—used the expression to promote his/her own vision of Schenkerian analysis and pedagogy during the 1930s, 40s, and 50s. While considering the writings that gave birth to the expression, the essay also points to the common sources these early Schenkerians drew on in forming their narratives around Schenker, and it goes on to explore the divergent paths those narratives …
On The Slow Movement Of Brahms's F-Minor Clarinet Sonata: Thirds-Cycles, Diatonie, And Todesangst, Edward Klorman
On The Slow Movement Of Brahms's F-Minor Clarinet Sonata: Thirds-Cycles, Diatonie, And Todesangst, Edward Klorman
Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic
The slow movement (Andante un poco adagio) of Brahms’s Sonata in F Minor for Piano and Clarinet, op. 120, no. 1, poses two significant challenges for a Schenkerian analysis: (1) pervasive, surface-level rhythmic displacements throughout the A section obscure the relationship between melody and bass; and (2) the B section is organized as a major-thirds cycle, a procedure that has often been regarded as incompatible with the underlying Diatonie of Schenker’s framework. This study develops two plausible interpretations of the ambiguous A section, of which one is selected for its clearer alignment of outer-voice counterpoint with formal function. …
Essays From The Fifth International Schenker Symposium (Part I), William M. Marvin
Essays From The Fifth International Schenker Symposium (Part I), William M. Marvin
Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic
No abstract provided.
Do It Again: Sequences In Gershwin And Kern’S Popular Songs, Maxwell Ramage
Do It Again: Sequences In Gershwin And Kern’S Popular Songs, Maxwell Ramage
Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic
Melodic sequences can create musical unity, enhance extra-musical drama, and make a piece memorable. In constructing their popular songs for Broadway and Hollywood, Gershwin and Kern both employed melodic sequences, but did so in mutually differing ways. This article opens with a broad-brushed comparison between the composers’ most popular songs and finds that Kern had a greater predilection for sequences than did Gershwin. Next, I closely analyze several songs by each composer in order to specify differences between the two songsmiths’ approaches to sequence. It is determined that Gershwin often reserves melodic sequence for musical climaxes, whereas Kern tends to …
Concise Manual Of Harmony, Intended For The Reading Of Spiritual Music In Russia (1874), Piotr Illyich Tchaikovsky, Liliya Shamazov (Ed. And Trans.)
Concise Manual Of Harmony, Intended For The Reading Of Spiritual Music In Russia (1874), Piotr Illyich Tchaikovsky, Liliya Shamazov (Ed. And Trans.)
Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic
No abstract provided.
Preface To Piotr Illyich Tchaikovsky, Concise Manual Of Harmony, Intended For The Reading Of Spiritual Music In Russia (1874), Liliya Shamazov
Preface To Piotr Illyich Tchaikovsky, Concise Manual Of Harmony, Intended For The Reading Of Spiritual Music In Russia (1874), Liliya Shamazov
Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic
No abstract provided.