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Journal Article
Journal of Music Theory (2003) 47 (2): 305–323.
Published: 01 October 2003
... AND RAMEAU’S THEORY OF THE ACCORD PAR SUPPOSITION Jean-Paul C. Montagnier By the 1620s, French musicians seem to have agreed with Marin Mersenne that dissonances “serve only to make [the consonances] more graceful, and all the more excellent and pleasing” (Mersenne 1636–37...
Journal Article
Journal of Music Theory (2006) 50 (1): 25–63.
Published: 01 April 2006
...Yosef Goldenberg Bibliometric tools and especially content analysis of all 393 articles published in Journal of Music Theory (up to issue 48/1) help to investigate the development of the content of this journal. The articles were classified according to their type, the theoretical aspect...
Journal Article
Journal of Music Theory (2009) 53 (2): 163–190.
Published: 01 October 2009
... tuned the concertina according to Euler's diatonic-chromatic genus before switching to meantone and ultimately equal temperament for his commercial instruments. Among members of the Royal Society, the concertina became an instrument for research on acoustics and temperament. Alexander Ellis, translator...
Journal Article
Journal of Music Theory (2009) 53 (2): 255–304.
Published: 01 October 2009
..., chromaticism in this period comprises many different phenomena. I therefore provide a model for separating chromatic tones according to their structural function and an analytical method for reducing chromatic works to their diatonic foundations. I present examples of each of the chromatic techniques that I...
Journal Article
Journal of Music Theory (2010) 54 (1): 1–4.
Published: 01 April 2010
...Brian Kane Stanley Cavell's thinking on music may appear an odd theme for a special issue of the Journal of Music Theory . According to Cavell, “although I have written very little explicitly about music... something I have demanded from philosophy has been an understanding precisely of what I had...
Journal Article
Journal of Music Theory (2010) 54 (1): 37–60.
Published: 01 April 2010
... or she is unable to individually affirm the value of a music that conforms to no recognizable models for music yet accepts the fact that this music is, according to Cavell's model of modernism, the fruit of an inexorable historical development. Cavell's interest in this dilemma stems from the wider aims...
Journal Article
Journal of Music Theory (2017) 61 (1): 59–109.
Published: 01 April 2017
..., which is in turn motivated by his Hanslickian musical absolutism. What emerges from this triangulation of commitments is that Schenker's interpretive practice accords with the scientific precepts Kant's philosophy of biology attempts to establish. This result casts new light on the purport of Schenker's...
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Published: 01 April 2021
curves seem to follow a medium heavy-heavy-light pattern, whereas the acceleration amplitude of the fiddler's foot stamping follows a high-high-low pattern that accords with the strong-[strong/medium]-weak accent pattern previously observed in telespringar playing. Figure 4. Plots showing More
Journal Article
Journal of Music Theory (2012) 56 (2): 121–167.
Published: 01 October 2012
... 122 Martin,J O U R N a Ex. l o f1: M U S I C   T h e O R Y � � � � � � � �� � �� � accord� de accord� de accord� de accord...
Journal Article
Journal of Music Theory (2007) 51 (1): 137–159.
Published: 01 April 2007
... Café de Foy. ____. 1798 . Traité de la basse sous le chant, précédé de toutes les règles de la composition.... Paris: Nadermann. ____. 1801 . Nouvelle méthode pour chiffer [sic] les accords.... Paris. Libby, Dennis. 1988 . “Giuseppe Sigismondo, an Eighteenth-Century Amateur...
Journal Article
Journal of Music Theory (2001) 45 (1): 1–29.
Published: 01 April 2001
...(P). 2.6(a) On Table 1 let us inspect the whole-tone set class, (02468t). We see that it has Fourier Properties 4, 3, 2, and 1. According to Answer 1B 6 TABLE 1: SET CLASSES OF CARDINALITY 2 THROUGH 6 SET YES NO SET YES NO CLASS...
Journal Article
Journal of Music Theory (2020) 64 (1): 123–136.
Published: 01 April 2020
.... In chapter 3 Cox shifts gears and presents a primer on conceptual met- aphor theory (CMT), first developed by George Lakoff and Mark Johnson in linguistics and later applied to music theory by Lawrence Zbikowski (2002), among others. According to Cox, when we ask our implicit questions, we arrive at our...
Journal Article
Journal of Music Theory (2002) 46 (1-2): 207–283.
Published: 01 October 2002
... (a tone with many harmonics) and which is perceived, in the “synthetic” mode of hearing, as the pitch of the tone. Virtual pitch may be heard even when the fundamental is physically absent, on the basis of just a few harmonics.9 According to Terhardt’s suggestion, the pattern-recognition faculty...
Journal Article
Journal of Music Theory (2003) 47 (2): 273–304.
Published: 01 October 2003
...: Bärenreiter. Braunschweig, Karl. 2001 . “Genealogy and Musica Poetica in Seventeenth- and Eighteenth-Century Theory.” Acta Musicologica 73/1 : 45 -75. Buelow, Goerge. 1986 . Thorough-Bass Accompaniment According to Johann David Heinichen . rev. ed. Ann Arbor: UMI Research Press. Cassirer...
Journal Article
Journal of Music Theory (2008) 52 (1): 159–180.
Published: 01 April 2008
... through human language, or it could be understood on the basis of its intervals, themselves based on ratios giving discrete pitches. Nonlinguistic music, that performed on instruments, was also writable and articulate. According to the late...
Journal Article
Journal of Music Theory (2004) 48 (2): 325–336.
Published: 01 October 2004
... with regularly recurring events in the environment” (4). According to London, “meter is a musically partic- ular form of entrainment” (ibidmeter is in the listener, not in the music, and periodicities occurring between events at the musical surface are entrained by the listener, whose attention is thereby...
Journal Article
Journal of Music Theory (2003) 47 (1): 103–123.
Published: 01 April 2003
... (pcsets). The basic unit of harmonic progres- sion, according to this conception, is the ordered pcset pair (X,Y), which represents harmony based on X followed by, or progressing to, harmony based on Y. These basic units can be chained together to form larger pcset progressions; linking the pairs (X...
Journal Article
Journal of Music Theory (2005) 49 (1): 45–108.
Published: 01 April 2005
... (particularly student com- posers engaged in part-writing) are expected to compose in accordance with the law, moving pitches by minimal distances. Listeners are expected to construe music in accordance with the law, interpreting disjunct sur- faces with respect to relatively smooth underlying norms...
Journal Article
Journal of Music Theory (2021) 65 (1): 17–38.
Published: 01 April 2021
... curves seem to follow a medium heavy-heavy-light pattern, whereas the acceleration amplitude of the fiddler's foot stamping follows a high-high-low pattern that accords with the strong-[strong/medium]-weak accent pattern previously observed in telespringar playing. Figure 4. Plots showing...
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Journal Article
Journal of Music Theory (2007) 51 (1): 51–83.
Published: 01 April 2007
.... Vincenti. Facs. Kassel: Bärenreiter, 1957; Rome: Società Italiana del Flauto Dolce, 1986. Buelow, Georg J. 1986 . Thorough-Bass. Accompaniment According to Johann David Heinichen . Rev. ed. Lincoln: University of Nebraska Press. Campion, François. 1716 . Traité d'accompagnement et de...