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Journal Article
Journal of Music Theory (2013) 57 (2): 287–320.
Published: 01 October 2013
...Allan Keiler Jean-Philippe Rameau’s understanding of harmony comes to us in the form of a theory that presents many interpretive difficulties. What writers of figured bass manuals were trying to achieve, on the other hand, is often more accessible, though as they go about their practical concerns...
Journal Article
Journal of Music Theory (2007) 51 (1): 85–135.
Published: 01 April 2007
... bass accompaniment. Partimenti were instructional basses from which an apprentice was expected to re-create complete compositions at the keyboard. The prodigious mental powers developed through the study of partimenti, which greatly facilitated improvisation and composition, gave a competitive...
Journal Article
Journal of Music Theory (2007) 51 (1): 5–49.
Published: 01 April 2007
... the neo-Ramellian Harmonielehre tradition. The differences are exemplified by comparing Rameau's basse fondamentale with Heinichen's fluctuating understanding of tonality. It was Heinichen who, at the start of the eighteenth century, attempted most thoroughly to conceptualize Italian music theory...
Journal Article
Journal of Music Theory (2012) 56 (2): 121–167.
Published: 01 October 2012
... pratique (1760), with particular attention to the extensive discussion of the topic in the “Art de la basse fondamentale” (c. 1737–43). To a considerable degree, Rameau’s conception of supposition was worked out in dialogue with his critics. Retracing that dialogue helps to clarify a number of points...
Journal Article
Journal of Music Theory (2007) 51 (1): 51–83.
Published: 01 April 2007
... that does not accompany anything except itself. It is a figured bass, but very often it has no figures at all. It is a bass, but can as well be a soprano, an alto, or a tenor. Whether tenor, alto, or soprano, it is often the lowest voice, but sometimes it can skip from one voice to another in...
Journal Article
Journal of Music Theory (2005) 49 (2): 333–357.
Published: 01 October 2005
... beaming within mm. 5–20 suggests, the interval-class-5 cyclic processes in the bass are largely consistent with standard functional harmonic moves. This is particularly true between mm. 13 and 20 (contained in the lowest system): the first interval-class-5 chain between mm. 13 and 17 moves to a...
Journal Article
Journal of Music Theory (2007) 51 (1): 1.
Published: 01 April 2007
... systems than to pore through the sheaves of figured-bass exercises that constitute the parti- mento tradition. Yet as the scholars gathered here demonstrate, such exer- cises constitute a form of implicit, indirect theorizing through practice that makes up a crucial (if messy) part of the story of...
Journal Article
Journal of Music Theory (2001) 45 (2): 483–487.
Published: 01 October 2001
... polyphonic melodies. Chapter 3. “Bass Lines and Harmonic Structure” begins with a dis- cussion of tonic prolongation achieved by means of bass lines, using pass- 484 ing and neighboring motions. These lines are then harmonized with con- trapuntal chords. The dominant is introduced as a structural...
Journal Article
Journal of Music Theory (2017) 61 (1): 29–57.
Published: 01 April 2017
...- gations of the bass arpeggiation at later structural levels. Schenker ([1935] 1979, 69) notes that the V–I motion may be prolonged only by an arpeggia- 1 The unfolding of the final harmony prior to its actual Sobaskie, however, does not discuss this type of arpeg- arrival as a...
Journal Article
Journal of Music Theory (2003) 47 (2): 225–272.
Published: 01 October 2003
... . Oxford: Clarendon. ____. 1999 . Arcangelo Corelli: New Orpheus of Our Times . Oxford: Oxford University Press. Arnold, F. T. 1965 . The Art of Acommpaniment from a Thorough-bass as Practiced in the XVIIth & XVIIIth Centuries . New York: Dover Publications. Barnett, Gregory Richard. 1997...
Journal Article
Journal of Music Theory (2007) 51 (1): 161–186.
Published: 01 April 2007
... Fugue had a significant role as 1  Disposizioni were exercises set in open score for two or unfigured bass, and was generally used in teaching as a first more voices, and involved imitation and other contrapun- attempt at free composition. Disposizioni and solfeggi are tal procedures...
Journal Article
Journal of Music Theory (1999) 43 (2): 257–281.
Published: 01 October 1999
...Steven Strunk 1999 © Yale University, New Haven, Connecticut 06520 1999 CHICK COREA’S 1984 PERFORMANCE OF “NIGHT AND DAY”* Steven Strunk Chick Corea recorded “Night and Day” in September 1984 with the group Trio Music (Miroslav Vitous, bass...
Journal Article
Journal of Music Theory (2000) 44 (2): 451–485.
Published: 01 October 2000
... between I and V: in 1a1 the bass traverses the span via £, and so the har- monic structure is I–I6/III–V; in 1b1 via ¢, the harmonic structure being I–II6/IV–V; and in 1c1 via ™, and the harmony is I–II–V. These funda- mental harmonic progressions can govern even though there might be notes other than...
Journal Article
Journal of Music Theory (2005) 49 (2): 301–332.
Published: 01 October 2005
... bass situations. See, for example, m. 4 of the introduction to “Black Nile” (Table 2a). Here, even before a key is established, Fm7 (implying a dominant to follow) progresses to the nondominant B≤maj7. This bass line in this context is much more likely, of course, to support Fm7 B≤7 or F7 B...
Journal Article
Journal of Music Theory (2006) 50 (1): 65–76.
Published: 01 April 2006
... origins of the final cadence in BWV 614 may perhaps be seen in the conclusion of Bach’s earlier prelude BWV 1091, based on the same cho- rale, which begins as a typical phrygian cadence might, on a bass F with a 7–6 suspension in the alto, as in Example 4(d), but before the resolution to E, an...
Journal Article
Journal of Music Theory (2009) 53 (2): 191–226.
Published: 01 October 2009
... not resonate with the musical characteristics of the passage. One situation that demands restraint transpires when the bass and an upper voice trade the tonic and dominant scale degrees. This swap may have...
Journal Article
Journal of Music Theory (2002) 46 (1-2): 207–283.
Published: 01 October 2002
... According to Terhardt’s suggestion, the pattern-recognition faculty employed in vir- tual-pitch perception also affects the “tonal meaning” of musical har- monies (ibid., 1067).10 If a bass tone forms similar intervals with the upper tones as those between a fundamental and its harmonics, it will have...
Journal Article
Journal of Music Theory (2005) 49 (1): 141–180.
Published: 01 April 2005
... Recitative Tradition.” Cambridge Opera Journal 6 : 1 –17. ———. 2002 . “Rameau's Imaginary Monsters: Knowledge, Theory and Chromaticism.” Journal of the American Musicological Society 55 : 433 –76. Duchez, Marie-Elisabeth. 1986 . “Valeur épistémologique de la théorie de la basse...
Journal Article
Journal of Music Theory (2001) 45 (2): 233–261.
Published: 01 October 2001
..., contains an Urlinie (which implies melodic completeness). In this piece, the Urlinie is not part of an Ursatz, but rather is supported by an auxil- iary cadence in the bass.12 In any case, whether one views a given tonal work as complete or not, what gives it closure is the primacy of the final tonic...
Journal Article
Journal of Music Theory (2007) 51 (1): 137–159.
Published: 01 April 2007
... Vatican à Rome et Maitre de Musique de S. A. R. Ferdinand II. Grand Duc de Florence . Publ. No. 312. Paris: Imbault. Christensen, Thomas. 1992 . “The Règle de l'Octave in Thorough-Bass Theory and Practice.” Acta Musicologica 64 : 91 -117. Daw, Brian A. 1985 -86. “Alessandro Scarlatti's...