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Journal Article
Journal of Music Theory (2007) 51 (1): 5–49.
Published: 01 April 2007
...Ludwig Holtmeier This essay explores the understanding of tonality and in particular the concept of chord, as demonstrated in the Italian thoroughbass tradition, especially in the didactic tradition of partimenti . For a long time this tradition was entirely overlooked because of the dominance...
Journal Article
Journal of Music Theory (2023) 67 (1): 1–70.
Published: 01 April 2023
.... Since most seven-tone sets are interval cycles, approximate twelve-tone sets are approximately cyclic as well. The theory explains how to highlight this cyclic structure using voicings , modeled by intervals in the intrinsic scale formed from a chord's own notes. This connection to voicing is what gives...
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Journal Article
Journal of Music Theory (2003) 47 (2): 305–323.
Published: 01 October 2003
... . “ Augmented Mediant Chords in French Baroque Music .” Ph.D. diss., University of Cincinnati. Nivers, Guillaume-Gabriel. [1667] 1961 . Traité de la composition de musique . Paris: Author, Robert Ballard. Trans. and ed. Albert Cohen. Brooklyn: Institute of Mediaeval Music. Parran, Antoine. 1639...
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in Approximate Set Theory: Chord Categories, Voicings, and Interval Cycles
> Journal of Music Theory
Published: 01 April 2023
Figure 1.4. The “So What” and “Farben” chords as open-position pentachords. Above, the voicing's intervals are measured in chromatic semitones (CHR), scale steps (diatonic and melodic minor; DIA), and intrinsic steps (INTR).
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in Approximate Set Theory: Chord Categories, Voicings, and Interval Cycles
> Journal of Music Theory
Published: 01 April 2023
Figure 1.3. Cyclic voicings for chords of size 3–7, with generating intervals. C , T , and Q stand for the clustered, tertian, and quartal voicings.
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Journal Article
Journal of Music Theory (2019) 63 (1): 1–34.
Published: 01 April 2019
...Brett Clement This article establishes an expanded theory of tonicization for harmonic progressions in rock music. While previous discussions of tonicization have largely focused on the role of the V chord, this theory allows for a much larger number of tonicizing chords, which may articulate...
Journal Article
Journal of Music Theory (2007) 51 (2): 277–332.
Published: 01 October 2007
...Clifton Callender This article generalizes Ian Quinn's recent harmonic characterization of pitch-class sets in equal tempered spaces to chords drawn from continuous pitch and pitch-class spaces. Using the Fourier transform, chords of any real-valued pitches or pitch classes are represented...
Journal Article
Journal of Music Theory (2017) 61 (2): 143–170.
Published: 01 October 2017
..., and bridge sections in a corpus of two hundred rock songs. I begin with an overview of the corpus itself, followed by a discussion of my methodology. I then present the results of my study, which quantifies harmony via two main approaches: the proportion of time spent on a chord root and the average duration...
Journal Article
Journal of Music Theory (2016) 60 (2): 149–180.
Published: 01 October 2016
...Drew Nobile In this article, I advocate for a syntactical definition of harmonic function in rock music such that function is acquired not by a chord's scale-degree content but by its role in the context of a song's form. In rock songs, the syntactical role of dominant, for example, is often played...
Journal Article
Journal of Music Theory (2017) 61 (1): 29–57.
Published: 01 April 2017
...Diego Cubero The concept of prolongation in Schenkerian analysis broadly describes the elaboration of a vertical sonority. Among the most basic ways to prolong a chord is by arpeggiating it, such that it governs the time span of its arpeggiation. In Heinrich Schenker's writings, however...
Journal Article
Journal of Music Theory (2008) 52 (2): 251–272.
Published: 01 October 2008
...Dmitri Tymoczko In this article, I consider two ways to model distance (or inverse similarity) between chord types, one based on voice leading and the other on shared interval content. My goal is to provide a contrapuntal reinterpretation of Ian Quinn's work, which uses the Fourier transform...
Includes: Supplementary data
Journal Article
Journal of Music Theory (2012) 56 (1): 1–52.
Published: 01 April 2012
...Dmitri Tymoczko This article relates two categories of music-theoretical graphs, in which points represent notes and chords, respectively. It unifies previous work by Brower, Callender, Cohn, Douthett, Gollin, O’Connell, Quinn, Steinbach, and myself, while also introducing new models of voice...
Journal Article
Journal of Music Theory (2015) 59 (2): 235–271.
Published: 01 October 2015
... of Morley's balletts reveals four primary “Englishing” techniques. First, Morley establishes and confirms tonic more thoroughly than the Italians do. Second, the dominant chord plays a larger role in Morley's balletts, often yielding predictive statement-response phrase structures. Third, Morley uses pre...
Journal Article
Journal of Music Theory (2019) 63 (2): 167–207.
Published: 01 October 2019
... -, and OP -spaces of two- and three-note chords. The final section of the study shows that, although the discrete mod-7 versions of these lattices appear quite different from their continuous mod-12 counterparts, the topological space underlying each of these graphs depends solely on the number of notes...
Journal Article
Journal of Music Theory (2020) 64 (1): 63–103.
Published: 01 April 2020
... chromatic transposition operators, and may be mapped in a generic Tonnetz analogous to the Tonnetz diagrams of neo-Riemannian theory. A complete classification of generic sequences with two-chord transposition blocks is derived from the paths described by the sequences in the Tonnetz . While it is tempting...
Journal Article
Journal of Music Theory (2022) 66 (1): 1–42.
Published: 01 April 2022
... and dissonant chords; and second, that these chords “move” from one to the next in ways determined by certain inherent relations among them, in a process in which dissonances, as well as consonances, play a significant if not crucial role. This article shows that the ancestors of these two fundamental...
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in Approximate Set Theory: Chord Categories, Voicings, and Interval Cycles
> Journal of Music Theory
Published: 01 April 2023
Figure 2.2. Some common voicings for fourteen genera: clustered, tertian, and quartal chords with three to six notes, along with equipollent trichords and tetrachords. Each line contains chords of a particular size. Above the staff I label chord categories and voicing types. The characteristic
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in Approximate Set Theory: Chord Categories, Voicings, and Interval Cycles
> Journal of Music Theory
Published: 01 April 2023
Figure 3.3. ( top ) Measure 4 of Ruth Crawford Seeger's Prelude no. 9 balances sevenths in the right hand against seconds in the left, their approximate complements. ( bottom ) Measure 13 juxtaposes sevenths and quintic chords in the right hand against quartal and quintic chords in the left.
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Journal Article
Journal of Music Theory (2009) 53 (2): 191–226.
Published: 01 October 2009
... cadential six-four chord. 2009 2009 Timothy Cutler is professor of music theory at the Cleveland Institute of Music. He is the creator of the Internet Music Theory Database ( www.musictheoryexamples.com ), a collection of roughly 1,500 categorized examples of tonal harmonic and contrapuntal...
Journal Article
Journal of Music Theory (2009) 53 (2): 227–254.
Published: 01 October 2009
... different directions—located at two different points in a geometrical space—are “the same” or not. Relevant examples include the surface of the earth and the geometrical spaces representing n-note chords. Section 2 argues that we should not require that every interval be defined at every point in a space...
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