... Supposition and Changing Concepts of Dissonance in Baroque Theory .” Journal of the American Musicological Society 24 : 63 – 84 . ———. 1980 . “ Rameau, Jean-Philippe, §7 .” In The New Grove Dictionary of Music and Musicians , ed. Sadie Stanley , 15 : 568 – 70 . London : Macmillan...

...David Temperley A corpus analysis of common-practice themes shows that, when an intervallic pattern is repeated with one changed interval, the changed interval tends to be larger in the second instance of the pattern than in the first; the analysis also shows that the second instance of an...

... change in musical structures. Yet this historical dimension, in many ways typical of its era, is complicated by a tenuous balance between the determinism demanded by rigorous scientific explanation and Helmholtz's evident desire to preserve a complex role for the “choice” of fundamental aesthetic...

...Mark Anson-Cartwright Among the many qualities that set Bach apart from his contemporaries is his manner of transforming his thematic material—most notably his fugue subjects. Bach himself believed that all good fugue writers should know how and when to change (or mutate) their subjects. The...

... interpenetration of melody and harmony and define the field of possibilities in which each melodic/harmonic change takes place—a “space” in which the changes can be heard as meaningful in relation both to themselves and to the text. Overall, these results suggest how the ostensibly mechanical melodic and harmonic...

... of neural impulses during perception to show how the brain creates interconnected neural maps from which memory, the foundation for consciousness, is constructed. Such maps are adaptive; they can change in response to a plethora of ongoing associations in the cortex. Hence, perceptions, rather than...

...; points of contact between them provide insight into precise agents of musical change around the turn of the seventeenth century. Megan Kaes Long is assistant professor of music theory at the Oberlin College Conservatory of Music. © 2015 by Yale University 2015 Thomas Morley Giovanni...

... theoretical contexts. Ultimately, the dramatic and technical factors are intertwined. Context also plays an important role in arriving at a plausible interpretation: In these expositions, the first impression suggested by the local context often changes when the ensuing musical material, the global context...

... studies, and the slow and partial change that involves metatheoretical approaches. Other aspects include the growth of the journal, its importance, and its editors and contributors. © 2008 by Yale University 2008 Yosef Goldenberg teaches at the Hebrew University of Jerusalem and at the Jerusalem...

... multifaceted perspective on time suggested by the change of year. In particular, the chromatic fourth becomes a tonality-defining element that contrasts the essentially diatonic melody. I suggest that the tonal and motivic balances in the piece reflect the duality of regret for the past and hope for the future...

... stimulates new levels and types of connection, just as a melodic pattern continually recalibrates and interacts with potential harmonic and contrapuntal orientations. Changing or shifting emphases in one orientation respond to the demands or constraints of another; in particular, I track the tonal potential...

... voice leading with motion through Fourier space. Voice-leading displacements of each of the six interval classes can be associated with specific changes of position in each of the six Fourier spaces for twelve-tone equal temperament. Likewise, displacement spaces, showing all of the sets that can be...

...Ian Quinn © 2008 by Yale University 2008 Editor’s note eagle-eyed readers may have noticed a few subtle changes in the previ- ous two issues of the Journal of Music Theory. For one thing, the word “Duke” appeared on the spine...

... links music to all other natural and human phe- nomena that involve motion or change. It is therefore inevitable that theories of musical time from all eras depend on a conscious or unconscious cultural understanding of time in a broader context. Philosophers have struggled throughout history to...

... because it points to the sensitivity of eighteenth-century theorists to the effect of absolute tempo discussed by London in connection with his idea of tempo-metrical types.6 The distinction between Taktteile and tactus extends to their capacity to change in the course of a given musical...

... this paper, we build on that previous research and develop a calcu- lus for modeling how perceptual psychology suggests that an auditory stream of music would be parsed into segments. The paper begins with a consideration of continuity and discontinuity, adopting an algorithm that uses <change-in...

...- tinuing in this direction will eventually lead to a rate that is perceived as pitch, not rhythm. The operation we have used to change the pulse-rate has always been the same, either halving or doubling. It is our physio- logical limitations that define the narrow band of rates that allow us to hear...

... Motion in Elliott Carter's Second String Quartet.” Intégral 10 : 19 -52. _____. 2004 . “Syntactical Space and Registral Spacing in Elliott Carter's Remembrance.” Perspectives of New Music 42.2 : 158 -89. Kozinn, Allan. 1984 . “Elliott Carter's Changes.” Guitar Review 57 : 1 -4...

.... ____. 1997 . “Robert Schumann's Metrical Revisions.” Music Theory Spectrum 19 ( 1 ): 35 -54. Krumhansl, Carol L., and E. J. Kessler. 1982 . “Tracing the Dynamic Changes in Perceived Tonal Organization in a Spatial Representation of Musical Keys.” Psychological Review 89 ( 4 ): 334 -68. Lerdahl...

... assortment of symmetries: O trans- poses one member of a BMO by an octave; P permutes an entire BMO; T and I apply a transposition or inversion, respectively, to every member of a entire BMO; and C changes the cardinality of a BMO by adding an order position somewhere and inserting a pitch that...