Theory and Practice

Journal of the Music Theory Society of New York State

Tonality and Centricity in Bartók's Second Bagatelle and "From the Island of Bali"
Theory and Practice (2014) Vol. 39, pp. 109-128

The structural basis of Bartók's Second Bagatelle (Op. 6, 1908) - or at least its beginning and ending - is, according to a number of recent sources, an axis of pitch-class symmetry: allegedly, the piece "centers" on (or around) the ...

Making the Most of an Enharmonic Seam: Pitch Respellings, Semitone Relationships, and Mode Mixture in Fiona Apple's "Extraordinary Machine"
Theory and Practice (2014) Vol. 39, pp. 75-108

Studies of enharmonicism often deal with nineteenth-century repertoire, but certain general characteristics, which are not limited in genre or historical epoch, lend themselves to enharmonic ambiguity. An examination of a striking, large-scale enharmonic seam in Fiona Apple's 2005 song "Extraordinary ...

Tonal Answers and Their Role Within Fugal Expositions: Two Revised Paradigms
Theory and Practice (2014) Vol. 39, pp. 47-73

William Renwick's subject-answer paradigms provide an important means of examining the role linear progressions play within fugal structures and have significant theoretical and pedagogical value. However, his paradigms raise important theoretical issues when one applies them in analysis, particularly where ...

"Quaerendo Invenietis"" Patrick Gowers's Sherlockian Puzzle
Theory and Practice (2014) Vol. 39, pp. 25-45

When Granada Television contracted the British composer Patrick Gowers to provide the accompanying score for its "Sherlock Holmes" series (1984-89), he opted to insert into his music "a puzzle that only Sherlock himself would immediately recognize and solve." An exhaustive ...

From Motive to Structure: Chromatic Cohesiveness in the First Movement of Beethoven's Violin Concerto, Op. 61
Theory and Practice (2014) Vol. 39, pp. 1-23

The first movement of Beethoven's Violin Concerto in D minor, op. 61 has long been considered a serene and spacious example of the pastoral genre. Although scholars acknowledge the presence of an unruly chromatic pitch, raised 1, near the beginning ...