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blues variants

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Journal Article
Journal of Music Theory (2023) 67 (2): 285–331.
Published: 01 October 2023
..., Big Mama Thornton, Fats Domino, Chuck Berry, and Little Richard, the main artists explored in this study. ns72@duke.edu Copyright © 2023 by Yale University 2023 rhythm and blues blues variants phrase rhythm poetic form harmonic rhythm in his autobiography   I Am the Blues...
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Published: 01 October 2023
Example 20. Lowell Fulson, “Pay Day Blues” (1961), second verse (0:45). The archetypal sixteen-bar “Payday” variant with AB/CD/R(E/F) poetic form and 8,8,5,5 phrase rhythm. The refrain has both a poetic rhyme and a rhythmic rhyme. More
Journal Article
Journal of Music Theory (2005) 49 (2): 277–299.
Published: 01 October 2005
... with less syncopated ragtime “pivoting” •  Introduction of “backbeats” or “change-steps” in the bass the blues, and the ring shout. From the blues, stride took blue notes (or bent tones) and used note clusters to approximate them. From solo piano ragtime,2 stride took formal structures and basic...
Journal Article
Journal of Music Theory (2023) 67 (2): 333–338.
Published: 01 October 2023
... songs) anthologized in 1947 by John and Alan Lomax. Classifying songs as employing the “Sweet Thing” scheme thus has a logic of historical recognition to it, especially when considering all three Lomax variants of “Sweet Thing,” “Crawdad Song,” and “Sugar Babe.” Passamezzo moderno is a comparable...
Journal Article
Journal of Music Theory (2005) 49 (2): 209–239.
Published: 01 October 2005
... progression.19 The additional upper staff gives several principal variants of the blues progression. Num- bers above both staffs identify the notes in each chord, according­­ to their harmonic role. The example highlights another important harmonic fea- ture of the blues. The first half...
Journal Article
Journal of Music Theory (2003) 47 (1): 155–214.
Published: 01 April 2003
... of the activity of the major/minor third dichotomy, as well as the basic patterning of trichord integration, for example, occurs across structures featuring semitonal variants as equivalents. This feature strongly contributes to the effect of Schoenberg’s richly evocative musical depic- tion...
Journal Article
Journal of Music Theory (2016) 60 (2): 149–180.
Published: 01 October 2016
... on context. Caplin (1998, 23) defines pre-dominants as “harmonies whose pri- mary purpose is to lead to the dominant.” IV chords that do not lead to the dominant are not pre-dominants. Furthermore, many different chords—not just IV and its contrapuntal variants—can carry pre-dominant function...
Journal Article
Journal of Music Theory (2000) 44 (1): 236–249.
Published: 01 April 2000
...- tion with Rodgers’ and Hart’s “A Ship Without a Sail” seem to me less helpful in pinpointing real influence than some he might have considered elsewhere. Blue-note chords (see pp. 9–10) probably come as much from the Russian classics as from African-American music, if the influence of Rachmaninov...
Journal Article
Journal of Music Theory (2023) 67 (2): 209–249.
Published: 01 October 2023
..., I tried to put everything else aside in this work and to concentrate only on the expressive and coloristic possibilities of the twelve tones in their diverse variants. 9 (Lutosławski 1960 : 295) Despite the composer's interest in the dormant potentialities of the aggregate, he rejected...
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Journal Article
Journal of Music Theory (2009) 53 (1): 137–162.
Published: 01 April 2009
... transformational theory and rhythm and meter theory, this study examines blue- grass banjo music in terms of rhythm and motions of the human hand. It begins by presenting a mathematical model of the five-string banjo characterizing the gestural permutations that give rise to the instrument’s rhythmic...
Journal Article
Journal of Music Theory (1999) 43 (1): 83–99.
Published: 01 April 1999
... encountered the analysis. I find it hard to believe that such intuition is simply mistaken, or that all such intuitions are. A second response is a variant of the first. This response takes it that the listener receives certain information when hearing a piece, but does not retain that information...
Journal Article
Journal of Music Theory (2022) 66 (2): 291–302.
Published: 01 October 2022
... of Tradition will serve as an essential guide, and a source of inspiration. There is a historical lineage, too, in the case of another thread of Harrison's discourse—the ever-shifting vocabulary of vernacular idioms from Tin Pan Alley to the present, successively inflected by jazz, blues, bossa nova...
Journal Article
Journal of Music Theory (2021) 65 (1): 39–80.
Published: 01 April 2021
... in the on-1 basic—the “slow” steps that precede pauses (shown with blue footprints) receive (interonset) durational (or D) accents, while breaking steps (shown with red footprints) are analogous to contour (or C) accents because they mark the outer spatial boundaries of the basic. Figure 2. Footwork...
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Journal Article
Journal of Music Theory (2024) 68 (1): 59–88.
Published: 01 April 2024
... straight to ones that directly concern the composer's craft and the listener's experience. If we choose to use some variant of Schenkerian analysis, it will be because of what it can tell us about the music, not just because we chose to classify the music as tonal. Furthermore, retiring the concept...
Journal Article
Journal of Music Theory (2013) 57 (1): 1–45.
Published: 01 April 2013
... histori- 12  On the notion of art worlds, see Becker 1984. cal and critical accounts of the genre (2008, xii–xiii). Along similar lines, Karl Hagstrom Miller (2010) has examined how the racial coding of hillbilly and blues genres in the first half...
Journal Article
Journal of Music Theory (2017) 61 (1): 111–140.
Published: 01 April 2017
... and their chromatic variants (e.g., between C and C ). While such a ♯ spiral might provide all manner of options for harmonies, there is no obvious way to organize the pitches into harmonies or to relate them to one another. It is thus easy to see why...
Journal Article
Journal of Music Theory (2020) 64 (1): 1–36.
Published: 01 April 2020
... the many dialogical variants of da capo aria, fugue, rondo, chorale-prelude, popular music formats, blues formats, sentence and period formats, and so on (emphasis added). Thus, as the second goal of this article, I take up Hepo- koski s suggestion by showing how a predictive approach paves the way...
Journal Article
Journal of Music Theory (2013) 57 (1): 47–85.
Published: 01 April 2013
....) Helpful initial examples of temporal orientation in music are provided by twelve-bar blues and thirty-two-bar song forms; in each case, performers and experienced listeners can have a con- tinuous sense of orientation that does not depend on counting...