O modo de dizer da teoria musical: uma reflexão sobre a terminologia de Schenker
Orfeu, 2021 Coloca-se em discussão a tradução para a língua portuguesa de alguns termos da teoria musical de Heinrich Schenker. Detendo-se, principalmente, sobre os termos Urlinie e Ursatz, procura-se realizar um debate a respeito do significado de tais conceitos ...
Ivan Gonçalves Nabuco +1 more
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Orfeu, 2021 The article evidences and documents the differences in meaning between the English term “prolongation”, the German Prolongation, and Schenker’s own understanding of the term.
Nicolas Meeùs
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Tonalität in Franz Schuberts späten Sonatenformen. Überlegungen zum Kopfsatz des Klaviertrios B-Dur D 898 [PDF]
Zeitschrift der Gesellschaft für Musiktheorie, 2009 Der nachfolgenden Untersuchung liegt die Annahme zugrunde, dass Tonalität in der Musik des ausgehenden 18. Jahrhunderts als ›Ursatz-Tonalität‹ (im Sinne Heinrich Schenkers), Tonalität in Werken ab etwa Mitte des 19.
Stefan Rohringer
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Relações de simetria na estrutura de Eu te amo, de Antonio Carlos Jobim e Chico Buarque de Holanda
Orfeu, 2021 Este artigo propõe uma análise detalhada da estrutura de alturas da canção Eu te amo, de Antonio Carlos Jobim e Chico Buarque de Holanda, através de uma adaptação da metodologia schenkeriana com ferramentas originadas na chamada Teoria Pós- Tonal.
Carlos De Lemos Almada
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Satztechnische und strukturelle Stimmführung im frühen 18. Jahrhundert. Zur Bedeutung des Fugensoggettos für den musikalischen Zusammenhang [PDF]
Zeitschrift der Gesellschaft für Musiktheorie, 2008 Zur Fuge wird eine Komposition des frühen 18. Jahrhunderts durch bestimmte satztechnische Verfahren, zur Form wird sie durch die funktionale Einheit, zu der sich die Teilmomente des Werks zusammenschließen.
Michael Polth
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Zygonic Theory: Introduction, Scope, and Prospects [PDF]
Zeitschrift der Gesellschaft für Musiktheorie, 2009 This extended article introduces Adam Ockelford’s ‘zygonic’ theory of music-structural understanding, which holds that imitation, which can occur in all domains of perceived sound and at all levels, is the ultimate organising force in music.
Adam Ockelford
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Response to David Temperley's Commentary [PDF]
, 2006 The author responds to points raised in David Temperley’s commentary, which appeared in Vol. 1, No. 2 of Empirical Musicology Review. The response includes a discussion of strengths and limitations of atemporal models of musical perception, with ...
Thomson, William
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Recognition of variations using automatic Schenkerian reduction. [PDF]
, 2010 Experiments on techniques to automatically recognise whether or not an extract of music is a variation of a given theme are reported, using a test corpus derived from ten of Mozart's sets of variations for piano.
Marsden, Alan
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Schenker’s Fließender Gesang and the Concept of Melodic Fluency
Orfeu, 2017 The concept of melodic fluency is considered today an important one in Schenkerian theory. William Pastille (1990:71-72) shows that this notion, first presented in the first volume of Counterpoint, initiated the development of the Ursatz concept.
Nicolas Meeùs
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Sémiotique et rhétorique musicales : la Fantaisie en ré mineur de Mozart [PDF]
, 2010 La Fantaisie KV 397 est examinée ici de deux points de vue différents mais complémentaires.La première approche est d’ordre analytique, inspirée par les travaux d’Heinrich Schenker (1868-1935) qui, dès 1930, avait anticipé dans le domaine de l’analyse ...
Bartoli, Jean-Pierre, Meeùs, Nicolas
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