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Journal Article
Journal of Music Theory (2012) 56 (2): 121–167.
Published: 01 October 2012
... Albert . 1971 . “ La 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...
Image
Published: 01 April 2023
Figure 9. The Scambi performance space annotated with the number of parameters that change across each family of audio segments. More
Journal Article
Journal of Music Theory (2019) 63 (2): 231–260.
Published: 01 October 2019
...Stephen Guerra Pitch spaces such as the circle of fifths model change through time in a composition, recording, or improvisation. Metric spaces theorized over the past twenty years do the same for changes (notated or not) in meter. Trajectories in either space and their potentially reinforcing...
Journal Article
Journal of Music Theory (2011) 55 (1): 1–41.
Published: 01 April 2011
... 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 processes...
Journal Article
Journal of Music Theory (2010) 54 (2): 283–310.
Published: 01 October 2010
... 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...
Journal Article
Journal of Music Theory (2014) 58 (1): 1–24.
Published: 01 April 2014
...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...
Journal Article
Journal of Music Theory (2014) 58 (2): 155–178.
Published: 01 October 2014
...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...
Journal Article
Journal of Music Theory (2006) 50 (1): 65–76.
Published: 01 April 2006
... a 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...
Journal Article
Journal of Music Theory (2006) 50 (1): 77–101.
Published: 01 April 2006
... 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...
Journal Article
Journal of Music Theory (2020) 64 (2): 147–201.
Published: 01 October 2020
... keys—all of the modern major and minor keys with up to four signature accidentals. But the route from eight to eighteen keys was not straightforward. This article traces this route by examining how the function of signature flats and sharps changed in seventeenth-century England. At the beginning...
Journal Article
Journal of Music Theory (2008) 52 (2): 219–249.
Published: 01 October 2008
... 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...
Journal Article
Journal of Music Theory (2015) 59 (2): 235–271.
Published: 01 October 2015
...; 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...
Journal Article
Journal of Music Theory (1999) 43 (2): 231–255.
Published: 01 October 1999
... 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...
Journal Article
Journal of Music Theory (2006) 50 (2): 181–210.
Published: 01 October 2006
... 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...
Journal Article
Journal of Music Theory (2006) 50 (1): 25–63.
Published: 01 April 2006
... 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...
Journal Article
Journal of Music Theory (2023) 67 (2): 251–284.
Published: 01 October 2023
... between the last chord of one progression and the first of the next. Each one of these essentially contrapuntal strategies is a crucial building block of Monteverdi's tonal structures: together they contribute to closing tonal circles, to an expressive use of register, and to meaningful changes of texture...
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Image
Published: 01 October 2023
refer to chord factors in elisions (single asterisk in verse 6 refers to the change in final chord resulting from the splice). Row 4: Intervals of transposition are shown for repeated progressions. Row 5: Schemata include stretto fuga and a single “O bellezza” schema in the first of the “Bramasti More
Journal Article
Journal of Music Theory (1999) 43 (1): 1–19.
Published: 01 April 1999
...- 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...
Journal Article
Journal of Music Theory (2000) 44 (1): 171–229.
Published: 01 April 2000
... or cooperate to produce segments. Among the parameters which Hasty mentions are dynamics, instrumental voice, timbre, register and registral interval, contiguity, motivic pattern, and set-class (Hasty 1981, 57). Potential segmentations arise because of discontinuities (that is, abrupt changes) along each...
Journal Article
Journal of Music Theory (2004) 48 (2): 325–336.
Published: 01 October 2004
... 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 composition. Whereas in some cases a change of Taktteile may be coincident with a change of tactus, in other cases...