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chromatic

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Journal Article
Journal of Music Theory (2019) 63 (1): 1–34.
Published: 01 April 2019
..., modality, chord succession, and harmonic function. In demonstrating these concepts, four categories of tonicization are illustrated: primary diatonic , in which a tonicization employs only diatonic chords of the mode; primary chromatic , which occurs due to chromatic inflection or modal borrowing...
Journal Article
Journal of Music Theory (2009) 53 (2): 255–304.
Published: 01 October 2009
..., chromaticism in this period comprises many different phenomena. I therefore provide a model for separating chromatic tones according to their structural function and an analytical method for reducing chromatic works to their diatonic foundations. I present examples of each of the chromatic techniques that I...
Journal Article
Journal of Music Theory (2014) 58 (2): 179–233.
Published: 01 October 2014
... is illustrated by analyses of chromatic passages from music by Mozart, Chopin, and Debussy. Motivations Scalar model for chromaticism Many musical phenomena appear to reflect structures of nontrivial complex- ity. Music theories, especially those with more formal inclination, strive to provide models...
Journal Article
Journal of Music Theory (2003) 47 (1): 41–101.
Published: 01 April 2003
..., as will be shown. Chromaticism is highly correlated with the phrase structure of the Theme. Phrase 1 con- tains four of the five chromatics of E≤ major: all but pc 1. EΩ enters in m. 3 as an element of vii—6/ii. The remaining chromatics occur together in the upbeat to the final measure of the phrase...
Journal Article
Journal of Music Theory (2005) 49 (1): 45–108.
Published: 01 April 2005
... in Figure 3). Every move up or down the column is a parsimonious move— one note of the dyad moves up or down by semitone. Notice that the set- classes are arranged between the extremes of chromaticness and evenness.8 51 Figure 4...
Journal Article
Journal of Music Theory (2003) 47 (1): 215–222.
Published: 01 April 2003
... pointed out to him, the passage in Har- monielehre in which Schenker denies that mixture is a chromatic phe- nomenon. For the record, here is the passage in its entirety (English ed., p. 289n.; German, p. 380n I am referring here only to chromaticism in the service of tonicization, i.e...
Journal Article
Journal of Music Theory (2006) 50 (1): 65–76.
Published: 01 April 2006
... 6 found in BWV 1091. The direct chromaticism is broken by the passing A3 harmony.6 The above reference to the semitones F–E and A–G≥ naturally leads to a consideration of the chromatic series of half-steps that pervades the accom- paniment of the composition. The passus...
Journal Article
Journal of Music Theory (2015) 59 (2): 191–234.
Published: 01 October 2015
.... The article then reveals a fundamental trait prevalent in many of Shostakovich's aggregate melodies: they often convey distinct zones of chromatic activity, diatonic activity, or a mixture of both. Drawing on these terms and concepts, the final part of the article probes the second movement of the Twelfth...
Journal Article
Journal of Music Theory (2004) 48 (2): 295–324.
Published: 01 October 2004
... score that Debussy praised unequivocally.7 Most importantly, it was this work that prompted Debussy to either adopt or more fully explore many of the ideas he found most appealing in Stravinsky’s music, includ- ing octatonic harmony and an opposition between diatonic and chromatic writing...
Journal Article
Journal of Music Theory (2014) 58 (2): 155–178.
Published: 01 October 2014
... of the pattern changes one of the intervals, the changed interval in the second instance will tend to be generically larger than the corresponding interval in the first instance. The second prediction concerns chromaticism. We can think of any chromatic note in either the first or second instance...
Journal Article
Journal of Music Theory (1999) 43 (1): 135–163.
Published: 01 April 1999
..., eds. (Lincoln and London: Uni- versity of Nebraska Press, 1996) Nineteenth-century chromatic tonality has exerted a strong attraction on music theory and analysis over the past quarter century or so, offering special fascinations and challenges. As evident in our journals, it has pro- vided...
Journal Article
Journal of Music Theory (2006) 50 (1): 77–101.
Published: 01 April 2006
...Marianne Kielian-Gilbert Intensely chromatic and tonally open, Bach's chorale prelude “Das alte Jahr vergangen ist,” BWV 614, suggests different contexts of reception “as-music-analysis.” I imagine a reception of the prelude as liturgical-musical contemplation and religious experience. I construe...
Journal Article
Journal of Music Theory (2009) 53 (2): 163–190.
Published: 01 October 2009
... tuned the concertina according to Euler's diatonic-chromatic genus before switching to meantone and ultimately equal temperament for his commercial instruments. Among members of the Royal Society, the concertina became an instrument for research on acoustics and temperament. Alexander Ellis, translator...
Journal Article
Journal of Music Theory (2009) 53 (2): 191–226.
Published: 01 October 2009
... that underscore networks of motivic parallelisms, (4) long-range exchanges employed as persuasive and powerful organizing tools, (5) surface chromatic “chaos” explained by underlying exchanges, and (6) the relationship between voice exchanges and a relatively unexplored nuance of tonal analysis—the inverted...
Journal Article
Journal of Music Theory (2008) 52 (2): 273–320.
Published: 01 October 2008
... reflected in the hexatonic organization of mm. 1–67, in the A section's stormy chromatic transitions, and in the cadential gestures that permeate the B section and coda. Yale University 2008 Brent Auerbach is assistant professor of music theory at the University of Massachusetts Amherst...
Journal Article
Journal of Music Theory (2012) 56 (1): 1–52.
Published: 01 April 2012
...-leading structure—including a three-note octahedral Tonnetz and tetrahedral models of four-note diatonic and chromatic chords. Dmitri Tymoczko is a composer and music theorist who teaches at Princeton University. His book A Geometry of Music was published in 2011, and his album Beat Therapy...
Journal Article
Journal of Music Theory (2016) 60 (2): 181–212.
Published: 01 October 2016
..., for instance, a rising whole-tone scale (an interval 2-cycle) simultaneously with a rising chromatic scale (an interval 1-cycle). This article extends beyond prior discussions of aligned cycles by exploring the different combinations and rotations of these cyclic structures and investigates how...
Journal Article
Journal of Music Theory (2015) 59 (1): 121–181.
Published: 01 April 2015
... and Music 7/2 : 103 – 25 . Proctor Gregory . 1978 . “ The Technical Bases of Nineteenth-Century Chromatic Tonality: A Study in Chromaticism .” Ph.D. diss. , Princeton University . Quinn Ian . 2006–7 . “ General Equal-Tempered Harmony” (in two parts) . Perspectives of New Music...
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 (2005) 49 (2): 301–332.
Published: 01 October 2005
... of the American Musicological Society 57 : 285 –323. Gauldin, Robert. 2004 . “The Theory and Practice of Chromatic Wedge Progressions in Romantic Music.” Music Theory Spectrum 26 : 1 –22. Hentoff, Nat. 1960 . Liner notes for Art Blakey and the Jazz Messengers: The Big Beat . Hollywood, CA: Blue...