... of the corpus data summarizes the sectional makeup of each of the twenty-two normative pieces. Formal and hermeneutical accounts of three deviational pieces demonstrate the flexibility and expressive potential of the system. A retrofit of the formal framework onto thirteen notable big-band arrangements...

... seven hundred instrumental works dated 1650–1770, I demonstrate that these two practices arose and functioned independently from each other, increasing in frequency and in length, before being subsumed into an overarching rotational practice. Keywords sonata form, big data, recapitulation...

... proportions. (Schachter thinks, for example, that the retransition is too long.) Occasionally, a generalizing statement appears not so much to report an empirical fact based on big data as simply to orient us to a convention. While such statements typically enshrine a pertinent truth, they can...

... TdC 118 59 Bridge DT 62 31 TdC 76 38 a DT, David Temperley; TdC, Trevor de Clercq. Finally, section labels besides verse, chorus, and bridge are too rare in our analyses to give any significant data. For example, only about 6 percent...

... of their distinction from tonoi— a point of confusion and conflation for so many students and nonspecialists. Though not averse to plunging into careful technical explanations, Nowacki is careful to keep big questions up front and to take a long view of the history of Western music theory. Nowacki's choice to use...

... partials (23). Reviewing theoretical accounts, Harrison makes some persuasive conceptual differentiations: Carol Krumhansl's 1980s empirical work proposes a rank-ordered model of overtones above a C tonic, pitch-class zero: <0 7 4 2 5 9 B A, 3, 6, 8, 1 >. To summarize data for listeners' intuitions...

... the same taxicab (or smaller Euclidean) distances, and since fifth, minor-third, and minor- second progressions vastly outnumber the major-third progressions, one might reasonably conclude from the data that Schubert and Chopin prefer less than maximally efficient voice leading. 174 Journal...

... that a major virtue of In Other Shoes is how consistently it takes seriously the data supplied by music-theoretical intuitions and practices. This is apparent in “Metaphor and Prop-Oriented Make-Believe,” in which Walton “explore[s] the applicability of the notion...

... and hired a well-known agent, Louis Shurr. Almost immediately, Porter signed a contract for Paris, his first big hit. Stories about the popular composers of this era turning out a song a day are relatively common, but Porter’s more traditional training stuck with him in his work habits. Moss Hart...

..., a rule that preserves content on level I.14 But where did we get that rule? It is doubtful that we derived it a posteriori, or though empirical means, say by amassing data that would show a correlation between one level II content and another. It is not as if we have to (or that we do) go about...

..., usually reluctant to acknowledge a discrepancy between the acoustical data given in the corps sonore and the cognitive information the listening subject derives from it, here has to resort to the activity of the ear to keep the problem of enharmonicism under control (on the issue of the “ear,” see...

.... 1800 . Partimenti ossia Basso numerato . Rome. Fox, Gwyneth. 1998 . “Using Corpus Data in the Classroom.” In Materials Development in Language Teaching , ed. Brian Tomlinson, 25 -43. Cambridge: Cambridge University Press. Galeazzi, Francesco. 1796 . Elementi teorico-pratici di musica con un...