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alignment

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Journal Article
Journal of Music Theory (1 October 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 (1 October 2010) 54 (2): 283–310.
Published: 01 October 2010
... unresolved challenge of reconciling a flexible aesthetics and historiography with the logical requirements of positivist knowledge aligns Helmholtz with major liberal thinkers from John Stuart Mill on. Yale University 2011 Benjamin Steege is assistant professor of music at Stony Brook University...
Journal Article
Journal of Music Theory (1 October 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 (1 October 1999) 43 (2): 349–358.
Published: 01 October 1999
... undoubtedly the transpositional/rotational section in the latter third of the Scherzo, mm. 46-69 (the shortened retrograde reprise appears in mm. 93–105). Here Berg set himself the task of aligning rows 2I3 (cello), 2PA (viola), 2P8 (violin II), and 2P5 (violin I) in continuous sixteenth notes, in twelve...
Journal Article
Journal of Music Theory (1 October 1999) 43 (2): 359–371.
Published: 01 October 1999
... satisfy their desire for critical and theoretical substance. As Pople puts it, “work which is excessively bottom-up, however carefully aligned with cognitive theory, may remain tangled in the empirical and fail to cross other than trivially into the critical/didactic domain; it is certainly ‘about the...
Journal Article
Journal of Music Theory (1 October 2001) 45 (2): 457–469.
Published: 01 October 2001
... spans produced from their grouping analysis, 458 Lerdahl and Jackendoff employ a separate metric grid that allow them to describe the complex ways in which grouping and meter sometimes align and sometimes do not. Schachter’s work goes one step further by introducing a new distinc- tion between...
Journal Article
Journal of Music Theory (1 October 2012) 56 (2): 285–291.
Published: 01 October 2012
... inspired it) in which similar elements are aligned vertically, so that their con- stituent units can be compared with greatest ease, and (in particular) so that their subtle differences are rendered as conspicuous as possible (1962, 158– 59). In a series of five...
Journal Article
Journal of Music Theory (1 April 2003) 47 (1): 125–154.
Published: 01 April 2003
... accentuation. This is not to say that meter and grouping do not interact and influence one another (a point I will develop below). In principle, however, meter and grouping are independent structures, which may be aligned with one another in a variety of different ways.1 Also of central importance to the...
Journal Article
Journal of Music Theory (1 April 2013) 57 (1): 1–45.
Published: 01 April 2013
... necessarily minimizes certain features and exaggerates others. No text, after all, adheres in all its details to the generic ideal; some degree of distortion is inevitable if the peculiarities of the former are to be brought into alignment with the demands of the latter. Given this legacy, it is...
Journal Article
Journal of Music Theory (1 April 2013) 57 (1): 47–85.
Published: 01 April 2013
... relate hypermeter to order position within a grouping unit. The schema that explains my hearing of this first passage aligns a four- bar hypermeasure with a four-bar grouping unit, with the primary metrical weight at the beginning of the group. I...
Journal Article
Journal of Music Theory (1 April 2008) 52 (1): 123–149.
Published: 01 April 2008
... of either G or d, but the great majority of individual words end on them as well” (2002, xxiv). The similarities in style are striking. But how is it that Hildegard’s style is so closely aligned with Hermannus’s? Hermannus’s theoretical and com...
Journal Article
Journal of Music Theory (1 April 2014) 58 (1): 1–24.
Published: 01 April 2014
... episodes. (In most fugues, the burden of modulatory work falls on episodes, rendering alteration of the subject largely unnecessary.) The eight enchained entries of the subject, which are numbered and aligned in Example 1 for ease of comparison, replicate the...
Journal Article
Journal of Music Theory (1 October 2005) 49 (2): 277–299.
Published: 01 October 2005
... three-group. That is, the bass notes and chords that follow are mis- aligned relative to the strong and weak beats of the bar. At the next appearance of a three-group, the right-pointing arrow signifies that the stride pattern is returned to correct beat alignment. At m. 7 the stride is...
Journal Article
Journal of Music Theory (1 April 2008) 52 (1): 3–8.
Published: 01 April 2008
... in twelfth-century musical traditions. Starting with a review of David Hiley’s association of Hermannus Contractus’s theory with his music, I demonstrate how closely aligned Hildegard’s musical style is not only with Hermannus’s but also with music for the...
Journal Article
Journal of Music Theory (1 October 2013) 57 (2): 245–286.
Published: 01 October 2013
... what he calls a grouping disso- nance between two layers of periodicity.7 This particular grouping dissonance is G3/2. Both diagrams visually represent the ratio 2:3, and both are meant to illustrate the periodic onset of events, their alignment and nonalignment. Euler’s theory, applied to...
Journal Article
Journal of Music Theory (1 October 2008) 52 (2): 273–320.
Published: 01 October 2008
Journal Article
Journal of Music Theory (1 April 2000) 44 (1): 81–99.
Published: 01 April 2000
... these measures is reproduced in Example 2a; Example 2b aligns this sketch with Beethoven’s music and fleshes out the analysis on the basis of Riemann’s commentary, which reads as follows: “The first subphrase up to m. 5 is nothing but an expanded thesis. Mm. 5–6 give a complete cadence with the stress...
Journal Article
Journal of Music Theory (1 October 2001) 45 (2): 233–261.
Published: 01 October 2001
... registrally with the B≤ in m. 4. In the top voice, the C≥s in mm. 1 and 14 are connected. It would clearly be con- tradictory to read both the upper voice’s C≥ and the bass B≤/A≥ as pro- longed, because they do not align. It is plausible to read just the upper voice’s C≥ as prolonged. This reading depends...
Journal Article
Journal of Music Theory (1 April 1999) 43 (1): 101–133.
Published: 01 April 1999
... impossible, one may well be left with the impression that the octave line is of limited use. Free Composition provides very few schematic illustrations of octave lines, and those that do appear are sometimes problematic. For instance, in Figure 27 (shown in Example 1) Schenker aligns melodically...
Journal Article
Journal of Music Theory (1 April 2001) 45 (1): 119–143.
Published: 01 April 2001
... har- monic progression; in the symphony, an uncommon metric/tonal align- ment—prepares the choice of tonal level for its recapitulation. These opening features, then, act essentially as motives, and will be considered as such here, though they depart from the more usual sense of the term as...