... 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...

..., 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...

...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...

... 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...

..., 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...

... 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...

...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...

... Birnstiel . Martin Nathan John . 2009 . “ Rameau and Rousseau: Harmony and History in the Age of Reason .” Ph.D. diss. , McGill University . Montagnier Jean-Paul C. 2003 . “ Heavenly Dissonances: The Cadential Six-Four in French grands motets and Rameau’s Theory of the accord par...

... as “the full [i.e., five-three] accord, with the bass note left out” (quoted in Herissone 2000 : 135). In his treatise The Musicall Grammarian , which existed only in a single manuscript until its publication in the late twentieth century, North ( [1728] 1990 : 139) addresses the topic much more expansively...

... 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...

...(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...

... others. According to Cox, when we ask our implicit questions, we arrive at our answers through the process of categorization: we give names to things so that we can better comprehend their significance. The process often requires us to categorize an entity or a phenomenon in terms of another category...

... explained by way of suspensions). Although few adopted the derivation based on the ninth chord, “Catel's distinction between ‘natural’ and ‘artificial’ chords became the model for most nineteenth-century French theorists” (Peters 1990 : 41; see also Groth 1983 : 30–36). 5 According to Penelope M...

... corresponds to the fundamental frequency of a complex tone (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...

... 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...

...: 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...

... 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...

... “a union of several harmonious sounds . . . in accord with each other” that “strike the ear at the same time.” This assumption that harmony properly so called involves simultaneities of several parts—for some writers, at least two; for others, at least three—as opposed to the purely successive single-voice...

... (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...