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Italianate recitative of the eighteenth and early nineteenth centuries constituted a distinct musical language that coexisted with the familiar style of common practice music. In this article we propose a theory of that language (“galant recitative”), which we characterize in terms of a core...
This article offers a Schenkerian interpretation of movement 12 from Sergei Rachmaninoff’s All-Night Vigil , also known as Vespers , op. 37 (1915), from the standpoint of tonal duality, known in Russian as peremennost’ , or mutability. First, I explore theoretical connections between several...
This article seeks to broaden our conventional historical account of the intersection between music and rhetoric by examining that intersection in the music-theoretical writings of Marin Mersenne (1588–1648). Mersenne’s discussion of rhetoric, found chiefly in his Harmonie universelle (1636–37),...
This article introduces a type of harmonic geometry, Fourier phase space, and uses it to advance the understanding of Schubert’s tonal language and comment upon current topics in Schubert analysis. The space derives from the discrete Fourier transform on pitch-class sets developed by David Lewin...
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