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Articles 61 - 90 of 101
Full-Text Articles in Music Theory
Volume 28, Various Authors
An Analytical Example For Bob, Joseph N. Straus
An Analytical Example For Bob, Joseph N. Straus
Publications and Research
In the fall of 1981, I was the greenest, most naïve young music theorist you can possibly imagine. The ink on my doctoral diploma was still wet, and I had just started my first job, at the University of Wisconsin. It was a simpler, less demanding time for music theorists: I had never attended a conference, much less presented at one. But I found myself at the 1981 meeting of the newly formed Society for Music Theory in Los Angeles, giving my first-ever theory paper. I recognized Milton Babbitt, the keynote speaker for the conference, sitting right in front of …
Paul Moravec: Polystylism In Cool Fire (2001), Jennifer Kuk-Bonora
Paul Moravec: Polystylism In Cool Fire (2001), Jennifer Kuk-Bonora
UNLV Theses, Dissertations, Professional Papers, and Capstones
The goal of this document is to provide a structural and stylistic analysis of Paul Moravec's chamber piece, Cool Fire (2001) within the context of Alfred Schnittke's polystylism. Fundamental polystylism is the use of two or more music styles within one composition and focuses on a more evolved portrayal of the style when, "there are no longer any direct quotations, but rather a certain element which indicates a `genetic refill' of memories." Techniques from Impressionism, Jazz, Baroque and Classical styles are utilized in Cool Fire.
The method of analysis will follow Jan La Rue's Guidelines for Style Analysis to better …
"The Performance Of 16th-Century Music: Learning From The Theorists" By Anne Smith, Kenneth Kreitner
"The Performance Of 16th-Century Music: Learning From The Theorists" By Anne Smith, Kenneth Kreitner
Performance Practice Review
Kenneth Kreitner discusses and reviews Smith's 2011 work.
Smith, Anne. The Performance of 16th-Century Music: Learning from the Theorists. Oxford: Oxford University Press, 2011.
ISBN 978-0-19974261-5.
Variations On A Russian Folk Song, Brian R. Denu
Variations On A Russian Folk Song, Brian R. Denu
Student Publications
This piece for solo piano demonstrates a wide range of techniques utilized in twentieth century composition. The theme is taken from the Finale of Igor Stravinsky's ballet "The Firebird", which itself is based on a Russian folk song. Each subsequent variation focuses on one or more compositional technique.
I. Theme
II. March (chords by thirds, extended triads)
III. Molto grave e expressivo (chromaticism)
IV. L'istesso tempo (ten-tone row)
V. Fast and light (twelve-tone row, secundal harmony)
VI. Much less (minimalism, extended techniques)
VII. Hazy (quartal harmony, modal melody)
VIII. Finale (spectralism)
The order of the variations partly reflects a chronological …
Volume 26, Various Authors
Volume 25, Various Authors
Volume 24, Various Authors
Volume 23, Various Authors
Volume 22, Various Authors
Volume 21, Various Authors
Volume 20, Various Authors
Volume 19, Various Authors
Volume 18, Various Authors
Volume 17, Various Authors
Volume 16, Various Authors
Volume 15, Various Authors
Volume 13, Various Authors
Volume 12, Various Authors
Volume 10, Various Authors
Volume 9, Various Authors
Volume 8, Various Authors
Does Music Theory Need Musicology?, Kofi Agawu
Does Music Theory Need Musicology?, Kofi Agawu
Publications and Research
Understood as a search for "the abstract principles embodied in music and the sounds of which it consists," music theory casts a wide net: it calls for a comparative sample and insists on a systematic methodology. As " the scholarly study of music, wherever it is found historically or geographically," musicology casts an even wider net. In practice, however, it has not been possible to transcend historical and geographical boundaries. (How often have you read an article on contemporary rock in JAMS or on Asian music in 19th-Century Music?) Obviously, any attempt to explore the juncture between music theory …
Volume 7, Various Authors
Volume 6, Various Authors
Volume 5, Various Authors
A Primer For Atonal Set Theory, Joseph N. Straus
A Primer For Atonal Set Theory, Joseph N. Straus
Publications and Research
Atonal set theory has a bad reputation. Like Schenkerian analysis in its earlier days, set theory has had an air of the secret society about it, with admission granted only to those who possess the magic password, a forbidding technical vocabulary bristling with expressions like "6- Z44" and "interval vector." It has thus often appeared to the uninitiated as the sterile application of arcane, mathematical concepts to inaudible and uninteresting musical relationships. This situation has created understandable frustration among musicians, and the frustration has grown as discussions of twentieth-century music in the professional theoretical literature have come to be expressed …
Volume 4, Various Authors
Volume 3, Various Authors
George Alan Russell: Jazz's First Theorist, Robert E. Moore
George Alan Russell: Jazz's First Theorist, Robert E. Moore
Trotter Review
In 1953 George Alan Russell published The Lydian Chromatic Concept of Tonal Organization. By virtue of this work Russell carved out a unique niche for himself in the history of jazz, his opus representing the first theoretical work to come out of the jazz tradition. The purpose of this paper is to define his place in jazz history and to offer a biographical sketch off jazz’s first and most important theorist. My points of departure will be references made to Russell in two widely read works—Gunther Schuller’s Early Jazz and Wilfrid Meliers’ Music in a New Found Land. …