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Published: 01 October 2021
Example 6. Napalm Death, “Scum,” blast beat. More
Journal Article
Journal of Music Theory (2017) 61 (2): 289–296.
Published: 01 October 2017
...Ruth I. DeFord Grant Roger Mathew , Beating Time and Measuring Music in the Early Modern Era , Oxford University Press , 2014 : viii + 309 pp. ( $45.00 cloth) Copyright © 2017 by Yale University 2017 Works Cited Bank J. A. 1972 . Tactus, Tempo, and Notation...
Image
Published: 01 April 2021
Figure 1. Music theorists tend to conceive of beats as points separated by spans (numbers above). Dancers tend to conceive of beats as spans separated by points (numbers in boxes). More
Journal Article
Journal of Music Theory (2013) 57 (1): 87–118.
Published: 01 April 2013
...Channan Willner Hemiolas are by definition metrically dissonant, in durational disagreement with the notated meter. But when extended metrical shifts (known also as afterbeats or afterbeat displacement ) displace a composition in part or in whole to the right (in order to emphasize the closing beat...
Journal Article
Journal of Music Theory (2021) 65 (1): 17–38.
Published: 01 April 2021
...Mari Romarheim Haugen Abstract This article studies the rhythm of Norwegian telespringar , a tradition with an intimate relationship between music and dance that features a nonisochronous meter; that is, the durations between adjacent beats are unequal. A motion-capture study of a fiddler and dance...
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Journal Article
Journal of Music Theory (2009) 53 (1): 137–162.
Published: 01 April 2009
... rise to the instrument's rhythmic complexity. Drawing upon these permutational relationships, this study analyzes excerpts from bluegrass banjo repertoire in terms of the connections among rhythmic patterns rendered as beat-class sets. Last, it examines the interaction between these sets and metric...
Journal Article
Journal of Music Theory (2021) 65 (1): 11–16.
Published: 01 April 2021
...Figure 1. Music theorists tend to conceive of beats as points separated by spans (numbers above). Dancers tend to conceive of beats as spans separated by points (numbers in boxes). ...
FIGURES
Journal Article
Journal of Music Theory (2021) 65 (1): 139–169.
Published: 01 April 2021
... displaced temporally—and general patterns of motivic development and metric manipulation. Balanchine's use of funky rhythms resonates with his characteristic on-top-of-the-beat step timing, offbeat visual accentuation, and jazz-dance-inspired movements, attesting to the adoption of both Africanist...
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Image
Published: 01 April 2021
Figure 1. A time-line pattern often referred to as the standard pattern , shown with the main beat (metrical interpretation). More
Image
Published: 01 April 2021
. The temporal beat positions, estimated using the fiddler's foot stamping, are indicated by vertical dashed lines in the plots. More
Journal Article
Journal of Music Theory (2003) 47 (1): 125–154.
Published: 01 April 2003
... theory is the distinction between meter and grouping. Meter is a hierarchical framework of beats—points in time carrying varying levels of implicit accentuation— which in itself implies no segmentation. Grouping is a hierarchical struc- ture of segments, which in itself implies no accentuation...
Journal Article
Journal of Music Theory (1999) 43 (1): 165–190.
Published: 01 April 1999
... sciences” (Rothstein, 125), readers would have no idea from this review that a significant part Shaping Time is concerned with the neu- rophysiology of timing and time control in music. Further, that the peri- odicity which characterizes a steady beat in the performance of music seems to rest upon...
Journal Article
Journal of Music Theory (2020) 64 (1): 37–61.
Published: 01 April 2020
... silences 3 beats or longer 1 20 Rapid changes of character; long rests A, B, C Sympathetic vibrations; sostenuto pedal (mm. 8 13, 16 21) 4.33 (mm. 2 3); 3.5 (mm. 8 9); 3.06 (mm. 15 16) 21 32 Slower changes of character B, C, E Sympathetic vibrations (mm. 22 24) 33 51 Rapid changes of character B, C, D, E...
Journal Article
Journal of Music Theory (2009) 53 (1): 57–94.
Published: 01 April 2009
..., is a slight dislocation of materials that are vertically aligned in the score. This practice, which I will call dislocation, has been unfashionable since 7  In the empirical literature on timing in performance, time 8  Regarding beat ratios in various mazurka rhythms, see spans...
Includes: Supplementary data
Journal Article
Journal of Music Theory (2000) 44 (2): 261–322.
Published: 01 October 2000
... to its primeval origins, as yet unoppressed by the rule of the strong beat, and striving to attain the condition of prosody (Bent 1994, 2:175). Beginning from the premise that symmetry is a “fundamental condi- tion for rhythm” because “symmetry in rhythm . . . is dictated by our physiological...
Journal Article
Journal of Music Theory (2013) 57 (1): 47–85.
Published: 01 April 2013
... that are organizationally similar to notated measures but that may differ from the notated measures of the score with respect to both period and phase. The down- beats of these heard measures are the hyperbeats that relate to one another by means of the hypermetrical schemas. Metrical orientation is top-down...
Journal Article
Journal of Music Theory (2002) 46 (1-2): 127–151.
Published: 01 October 2002
... continuum and as scale steps. Sim- ilarly, both relative durations and the intervals between pitches can be dis- cussed in terms of ratios or proportions. Pitch classes, beat classes (in an established meter) and scaled durations are all amenable to set and/or group-theoretic treatment. When the same...
Journal Article
Journal of Music Theory (2021) 65 (2): 185–237.
Published: 01 October 2021
...Example 6. Napalm Death, “Scum,” blast beat. ...
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Journal Article
Journal of Music Theory (2004) 48 (2): 325–336.
Published: 01 October 2004
... ordering of beats into measures is characterized by future-oriented attending. As London points out, these three levels are normally defined by the time signature (e.g., 3/4 denotes triple grouping of beats and their duple sub- division). Yet in a given musical passage additional levels of entrain...
Journal Article
Journal of Music Theory (2021) 65 (2): 325–374.
Published: 01 October 2021
... by Reich contemporaneously with Clapping Music . The second part of Music for Pieces of Wood , Reich uses the 4/4 rhythm in Figure 4b , which appears to be a truncation of the 6/4 rhythm, in which the first two beats have been removed. This description, while initially satisfying, is inadequate...
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