Results 21 to 30 of about 209 (123)
Large‐Scale Structure, Performance and Brahms's Op. 119 No. 2
Music Analysis, Volume 40, Issue 1, Page 104-130, March 2021., 2021 ABSTRACT Research in musical performance studies has generated a healthy scepticism of the importance of large‐scale structure to performance (in terms of both interpretation and perception): on the one hand, it might well be hardwired into notation; on the other, prioritising it risks simply repeating outworn maxims that neglect the performer's ...
Adam Behan
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, 2022 Music Analysis, Volume 41, Issue 1, Page 183-207, March 2022.
John Koslovsky
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Pacific Philosophical Quarterly, Volume 107, Issue 2, Page 58-73, June 2026.ABSTRACT I develop an axiomatic system of mereology that accounts for the ways in which musical works can be said to have parts. I distinguish two fundamental modes of composition that musical works exhibit: successive composition, whereby sound events are concatenated in time, and simultaneous composition, whereby sound events occur at the same time ...
Alejandro G. Di Rienzo
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The Off‐Tonic Recapitulation in Context: a Study in Fuzziness
Music Analysis, Volume 44, Issue 3, Page 372-392, October 2025.ABSTRACT The double return of the principal theme and home key has long held pride of place in theories of sonata form. For James Webster (2001) it is the paramount feature of sonata form; similarly, for James Hepokoski and Warren Darcy (2006) it is the feature that lies at the heart of their sonata‐theory typology, distinguishing between their types 1,
YOEL GREENBERG
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Cognitive Theories of Galant Music at the Margins of Experience
Music Analysis, Volume 44, Issue 3, Page 293-339, October 2025.ABSTRACT Leading cognitive studies of galant music treat schematism as both a device and an ethos. The devices – whether called pre‐fabs, tiles or schemata – undergird a mechanistic and passive ethos of inventiveness. In vision and practice, this constellation of approaches directs inquiry away from a musical depth that one contemplates and towards a ...
Edmund J. Goehring
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Music Analysis, Volume 44, Issue 1, Page 3-43, March 2025.ABSTRACT Is musical analysis meant to guide performance – or to be based on it? Can a Schenkerian analysis of a piece be corroborated by a performance or an arrangement? This article addresses these questions through a well‐known test case – the first prelude of the first book of Bach's Well‐Tempered Clavier, as analysed by Heinrich Schenker in Five ...
NAPHTALI WAGNER, RAM REUVEN
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Music Analysis, Volume 44, Issue 1, Page 73-99, March 2025.ABSTRACT In contrast to the teleological nature of Western art music, minimalism has long been purported to be ‘anti‐teleological’ (Meyer 1963) – that is, the latter lacks the goal‐directedness that Wim Mertens (1983) views as a defining feature of the former.
Hunter Hoyle
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Jean‐Luc Nancy's Conception of Listening
Educational Theory, Volume 74, Issue 6, Page 915-941, December 2024.Abstract In this article Sophie Haroutunian‐Gordon and Megan Jane Laverty discuss Jean‐Luc Nancy's conception of listening as presented in his seminal work, À l'écoute. The authors argue that Nancy uses the term “listening” to refer to the experience of coming to an idea of sound(s) initially encountered as puzzling.
Sophie Haroutunian‐Gordon +1 more
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Music Analysis, Volume 43, Issue 1, Page 3-35, March 2024.ABSTRACT This article examines the elaborate compositional processes at work in the opening movement of Mendelssohn's Quartet in D major, Op. 44 No. 1 (1838) in the service of advancing and further refining the application of contemporary Formenlehre to nineteenth‐century music.
Benedict Taylor
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Sonata in B Minor. For Piano and Violin [PDF]
The Musical Times and Singing Class Circular, 1885 n ...
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