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aligned cycles

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Journal Article
Journal of Music Theory (2016) 60 (2): 181–212.
Published: 01 October 2016
...Philip Stoecker In this article I investigate aligned cycles. First identified by Alban Berg in a letter to Arnold Schoenberg and later discussed by George Perle and David Headlam, an aligned cycle is when two (or more) interval cycles unfold in the same direction in a note-against-note alignment...
Journal Article
Journal of Music Theory (2018) 62 (2): 165–204.
Published: 01 October 2018
... Cantata, op. 31 (1943): (1) the structural composition of complete cycles, including their length, the segmental invariances they produce, and their interaction with Hildegard Jone’s texts; (2) the primitives, potentialities, and surface articulations of aligned cycles, both synchronous and asynchronous...
Journal Article
Journal of Music Theory (2008) 52 (2): 273–320.
Published: 01 October 2008
... vertically, though abstractly, as the chordal end product of the three aligned interval cycles.35 The further value of Example 18 is that it revives the hidden chromati- cism lying nascent in mm. 1–3. Once more we note the inevitable pull...
Journal Article
Journal of Music Theory (2021) 65 (1): 81–106.
Published: 01 April 2021
... starting position. Image 3 ends here, while Video 1 , reflecting the usual modern practices, reverses the entire process immediately afterward. 6 Image 4 presents a metric grid aligned with grouping in two ways and with levels labeled according to cycles in the grand square. Most obvious...
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Journal Article
Journal of Music Theory (1999) 43 (2): 349–358.
Published: 01 October 1999
... aggregates or not, rests atop a “background” of the symmetry of the twelve-tone equal-tempered collection, which features 351 inversional complementation and interval cycles, and Berg used similar procedures in his “atonal” and “twelve-tone” works...
Journal Article
Journal of Music Theory (2021) 65 (2): 325–374.
Published: 01 October 2021
... analytical tool is the rhythmic spectrum, which omits phase information, but the use of plots that include phase information is also demonstrated in a few instances. The method shows a consistency in Reich's rhythmic language despite experimentations with irregular cycles, which begins with the formulation...
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Journal Article
Journal of Music Theory (2013) 57 (1): 1–45.
Published: 01 April 2013
... be aligned, and the differ- ent constructions of the cycle that these that these groupings afford. It should 19  The notion of privileged context is borrowed from Korsyn 1999. 16 Journal of Music Theory be noted, however, that undertaking such an analysis of Grisey’s work...
Journal Article
Journal of Music Theory (2021) 65 (1): 107–137.
Published: 01 April 2021
..., metrical dissonance, attends to the pulses articulated by musical rhythms and charts how these pulses come into or out of alignment. The second, metric type identifies the position, or orientation, of metric accent within groupings or phrases of musical material. Both facets of musical timing affect more...
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Journal Article
Journal of Music Theory (2000) 44 (2): 323–379.
Published: 01 October 2000
... diminished fifth, in the case of the chro- matic circle, closure is attained by tempering each fifth to bring F≥ into alignment with G≤, thus spreading the imperfection out over the entire cycle.20 These two paths through fifth space are superimposed in Figure 20, highlighting an important correlation...
Journal Article
Journal of Music Theory (2021) 65 (1): 39–80.
Published: 01 April 2021
... ), note how the direction of the lead's physical motion is exactly opposite that of the follow. Once a couple has established a particular metric entrainment, they usually align their steps with the music consistently for the duration of the song; while steps are sometimes added, omitted, syncopated...
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Journal Article
Journal of Music Theory (2019) 63 (2): 231–260.
Published: 01 October 2019
.... Murphy (2009) introduces a space occupied by meters that share a common number of pulse levels, together with at least one common level, such as the tactus or the downbeat. Gotham (2015) expands the objects that can occupy metric space to include nonisochronous meters (NI meters), rhythmic cycles...
Journal Article
Journal of Music Theory (2021) 65 (1): 11–16.
Published: 01 April 2021
... and each parenthesis represents both a four-bar phrase segment and the duration of the dancer's bodily gesture. That particular alignment of rhythm and meter is proper to the entire song and, indeed, to the entire genre of dance music of which it is an element. Matthew Bell, by contrast, analyzes...
Journal Article
Journal of Music Theory (2007) 51 (2): 277–332.
Published: 01 October 2007
... are { } perfectlySince aligned we are with working the impulses. in a continuous This is space, the sense there in is no which need a to set limit correlates our “maximally” with 5 5 aninvestigation interval cycle...
Journal Article
Journal of Music Theory (2006) 50 (1): 77–101.
Published: 01 April 2006
... Fanny Mendelssohn Hensel's setting of Bach's “Das alte Jahr” in the concluding “Nachspiel” of her piano song cycle, Das Jahr , as suggesting interactions of public and private sonic worlds. I follow potential tonal-harmonic alternatives (after Schoenberg and Berg on the chorale) and implications...
Journal Article
Journal of Music Theory (2015) 59 (2): 273–320.
Published: 01 October 2015
..., 3)-cycle in the stretti that follow the f c = pb, where a, b, and c are integers modulo m for f m = cyclic unfoldings in the exposition and reprise, using the sm = I (identity), and modulo n for pn = I. cycle’s invariant dyads to align new cycle segments...
Journal Article
Journal of Music Theory (2015) 59 (1): 121–181.
Published: 01 April 2015
..., . . . , ˆf11. The index of the component indicates the number of cycles per octave. Figure 4 shows three of the components for the C-major triad, ˆf3, ˆf4, and ˆf5. Notice that the sinusoids have three, four, and five peaks, respectively. These twelve sinusoids, when...
Journal Article
Journal of Music Theory (2017) 61 (1): 111–140.
Published: 01 April 2017
... ideas of key. Starting with Edward Gollin's recent generalization of Moritz Hauptmann's key representations as “multiaggregate cycles”—which he also uncovers on the surface of and in the relations between harmonies in Bartók's music—the article briefly reconsiders Hauptmann's theories and depictions...
Journal Article
Journal of Music Theory (2020) 64 (2): 241–281.
Published: 01 October 2020
... contrast the perspectives of both types of movable- do solfège users. This argument aligns with recent reevaluations of Jacques Handschin’s tone character (Clampitt and Noll 2011; Noll 2016b) and suggests a path of reconciliation in the ongoing solfège debate. Close readings of Franz Schubert’s Impromptu...
Journal Article
Journal of Music Theory (2014) 58 (1): 79–101.
Published: 01 April 2014
... . ———. 1996 . “ Maximally Smooth Cycles, Hexatonic Systems, and the Analysis of Late-Romantic Triadic Progressions .” Music Analysis 15 : 9 – 40 . ———. 1997 . “ Neo-Riemannian Operations, Parsimonious Trichords, and Their Tonnetz Representations .” Journal of Music Theory 41 : 1 – 66...
Journal Article
Journal of Music Theory (2002) 46 (1-2): 153–205.
Published: 01 October 2002
... of, and relations between, pitch-class collections based on their cyclic construction.4 The present study is most closely aligned with Perle 1977b and Buch- ler 1997. Its relation to Perle stems from our interest in structures which result from the unfolding of more than one interval cycle; however, the two...