Janet Schmalfeldt
Biographic Data
| ID | 1485600 |
|---|---|
| NAME | Janet Schmalfeldt |
| GIVEN NAMES | Janet |
| FAMILY NAME | Schmalfeldt |
| SIGNATURE | SCHMALFELDT J |
| AFFILIATIONS | Tufts University |
| ORCID | 0000-0002-2453-2824 |
| VERIFIED | Yes |
| TOTAL WORKS | 14 |
| TOTAL CITATIONS | 12 |
| AUTHOR COUNT | 14 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1986 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 2 |
Sobre performance, análise, e Schubert
An introductory critique of my own 1985 essay about the performance-analysis relationship sets the stage for a portrayal of the Performer as the individual most especially in charge of shaping our perceptions of form within the first movement of Schubert's Piano Sonata in A Minor, Op. 42 (D845). Ideas about form as process in Beethoven's music, about Schubert's personal and professional status in 1825, and about the interplay between formal and m…
Nineteenth-Century' Subdominants
The harmonic dualist notion of two commensurate 'systems' - authentic and plagal - proposed by Daniel Harrison in 1994 has not been widely accepted, but it enabled him to uncover strong plagal elements in the music of late nineteenth-century European composers, and it gives much heft to the generally accepted view that the subdominant acquired greater autonomy in music of the fin de siècle. If we allow for the idea that the subdominant and the do…
Domenico Scarlatti, artista fugidio
Uma mudança permanente aos 34 anos de idade, da Itália para os serviços privados da princesa Maria Bárbara, em Portugal e posteriormente na Espanha, permitiu que Domenico Scarlatti fugisse da fama e da classificação estilística. Na ausência de uma categoria convincente para a música de Scarlatti – pós-Barroca? Pré-Clássica? Galante? Transitória? – o especialista em Scarlatti, W. Dean Sutcliffe, recorre à expressão adequada “estilo misto”. Entreta…
Phrase
Like so many foundational music-theoretical terms, “phrase” has been adopted in divergent ways, sometimes unreflectively. Notions of phrase are necessarily contingent upon styles, genres, historical and cultural contexts, social functions, and ties to syntax, cadence, and form. Although no global definition is feasible, commonalities among appropriations of the term emerge. This chapter explores the ineluctable association of phrase with text and…
Domenico Scarlatti, Escape Artist
A permanent move at the age of 34, from Italy into the private services of Princess María Bárbara in Portugal, later in Spain, allowed Domenico Scarlatti to escape fame and stylistic classification. In the absence of a convincing category for Scarlatti's music – post‐Baroque? pre‐Classical? galant ? transitional? – the Scarlatti scholar W. Dean Sutcliffe resorts to the apt expression ‘mixed style’. But Sutcliffe acknowledges that ‘much about the …
Response to Mike Cheng-Yu Lee
Response to Carissa Reddick
One More Time on Beethoven's "Tempest," From Analytic and Performance Perspectives
Recording and Score of Beethoven's "Tempest" Sonata (Malcolm Bilson, piano)[1] Processual approaches to the perception of form in this volume can claim venerable antecedents in respect to multiple musical dimensions.Such dimensions include motive, rhythm, harmony, cyclical designs, "narrative" features, and, most recently, hypermeter (see Temperley 2008).These approaches invite us-as performers and listeners-to adopt perceptual strategies that al…
New Paths
Response (to the Special Issue on Performance and Analysis)
Keynote Address, Twenty-Sixth Annual SMT Conference
On Keeping the Score
This essay proposes and then explores the view that the most profound and beneficial changes in the field of music theory within the last decade have come about in response to pressures from without to relinquish the notion of music as autonomous. I ask anew why our field has waited so long to acknowledge that the creation, performance, and study of music cannot help but be implicated in both past and present social, cultural, and political conce…
Towards a Reconciliation of Schenkerian Concepts with Traditional and Recent Theories of Form
Berg's Wozzeck
Towards a Reconciliation of Schenkerian Concepts with Traditional and Recent Theories of Form
Nineteenth-Century' Subdominants
The harmonic dualist notion of two commensurate 'systems' - authentic and plagal - proposed by Daniel Harrison in 1994 has not been widely accepted, but it enabled him to uncover strong plagal elements in the music of late nineteenth-century European composers, and it gives much heft to the generally accepted view that the subdominant acquired greater autonomy in music of the fin de siècle. If we allow for the idea that the subdominant and the do…
Response (to the Special Issue on Performance and Analysis)
Berg's Wozzeck
Towards a Reconciliation of Schenkerian Concepts with Traditional and Recent Theories of Form
On Keeping the Score
This essay proposes and then explores the view that the most profound and beneficial changes in the field of music theory within the last decade have come about in response to pressures from without to relinquish the notion of music as autonomous. I ask anew why our field has waited so long to acknowledge that the creation, performance, and study of music cannot help but be implicated in both past and present social, cultural, and political conce…
Keynote Address, Twenty-Sixth Annual SMT Conference
Response (to the Special Issue on Performance and Analysis)
New Paths
Response to Mike Cheng-Yu Lee
Response to Carissa Reddick
One More Time on Beethoven's "Tempest," From Analytic and Performance Perspectives
Recording and Score of Beethoven's "Tempest" Sonata (Malcolm Bilson, piano)[1] Processual approaches to the perception of form in this volume can claim venerable antecedents in respect to multiple musical dimensions.Such dimensions include motive, rhythm, harmony, cyclical designs, "narrative" features, and, most recently, hypermeter (see Temperley 2008).These approaches invite us-as performers and listeners-to adopt perceptual strategies that al…
Domenico Scarlatti, Escape Artist
A permanent move at the age of 34, from Italy into the private services of Princess María Bárbara in Portugal, later in Spain, allowed Domenico Scarlatti to escape fame and stylistic classification. In the absence of a convincing category for Scarlatti's music – post‐Baroque? pre‐Classical? galant ? transitional? – the Scarlatti scholar W. Dean Sutcliffe resorts to the apt expression ‘mixed style’. But Sutcliffe acknowledges that ‘much about the …
Phrase
Like so many foundational music-theoretical terms, “phrase” has been adopted in divergent ways, sometimes unreflectively. Notions of phrase are necessarily contingent upon styles, genres, historical and cultural contexts, social functions, and ties to syntax, cadence, and form. Although no global definition is feasible, commonalities among appropriations of the term emerge. This chapter explores the ineluctable association of phrase with text and…
Domenico Scarlatti, artista fugidio
Uma mudança permanente aos 34 anos de idade, da Itália para os serviços privados da princesa Maria Bárbara, em Portugal e posteriormente na Espanha, permitiu que Domenico Scarlatti fugisse da fama e da classificação estilística. Na ausência de uma categoria convincente para a música de Scarlatti – pós-Barroca? Pré-Clássica? Galante? Transitória? – o especialista em Scarlatti, W. Dean Sutcliffe, recorre à expressão adequada “estilo misto”. Entreta…
Nineteenth-Century' Subdominants
The harmonic dualist notion of two commensurate 'systems' - authentic and plagal - proposed by Daniel Harrison in 1994 has not been widely accepted, but it enabled him to uncover strong plagal elements in the music of late nineteenth-century European composers, and it gives much heft to the generally accepted view that the subdominant acquired greater autonomy in music of the fin de siècle. If we allow for the idea that the subdominant and the do…
Sobre performance, análise, e Schubert
An introductory critique of my own 1985 essay about the performance-analysis relationship sets the stage for a portrayal of the Performer as the individual most especially in charge of shaping our perceptions of form within the first movement of Schubert's Piano Sonata in A Minor, Op. 42 (D845). Ideas about form as process in Beethoven's music, about Schubert's personal and professional status in 1825, and about the interplay between formal and m…
Musicology and Musical Analysis (10 works) · Art (9 works) · Computer Science (5 works) · Diverse Musicological Studies (4 works) · Neuroscience and Music Perception (4 works) · Psychology (4 works) · Literature (3 works) · Aesthetics (2 works) · Diverse Music Education Insights (2 works) · Music History and Culture (2 works)