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chromatic

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Journal Article
Journal of Music Theory (1 April 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 (1 October 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 (1 October 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...
Journal Article
Journal of Music Theory (1 April 2006) 50 (1): 65–76.
Published: 01 April 2006
...” and suggests a poetic interpretation of Bach’s chorale. Expressive elements such as the passus duriusculus, the sospiro, and pervasive chromaticism are woven into a radical tonal plan that reflects a multifaceted perspective on time suggested by the change of year. In particular, the chromatic...
Journal Article
Journal of Music Theory (1 April 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 (1 October 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 (1 October 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...
Journal Article
Journal of Music Theory (1 October 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. Antokoletz...
Journal Article
Journal of Music Theory (1 April 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 has...
Journal Article
Journal of Music Theory (1 October 2015) 59 (2): 191–234.
Published: 01 October 2015
... 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 (1 October 2014) 58 (2): 155–178.
Published: 01 October 2014
... chromaticism: in the second and fifth melodies, diatonic scale degrees in the first instance of the pattern are replaced by chromatic degrees in the second instance. There is another, more abstract commonality across these melodies that is perhaps less obvious than those mentioned above. Large...
Journal Article
Journal of Music Theory (1 October 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 these...
Journal Article
Journal of Music Theory (1 April 2015) 59 (1): 121–181.
Published: 01 April 2015
... 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 (1 April 2003) 47 (1): 41–101.
Published: 01 April 2003
... several significant moments, 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...
Journal Article
Journal of Music Theory (1 April 2005) 49 (1): 45–108.
Published: 01 April 2005
... 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. A parsimonious voice-leading space for trichord classes At one...
Journal Article
Journal of Music Theory (1 April 2003) 47 (1): 215–222.
Published: 01 April 2003
... 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., of the scale...
Journal Article
Journal of Music Theory (1 October 1999) 43 (2): 257–281.
Published: 01 October 1999
... “chromatic descent;” (4) section A1′ (mm. 17–24), a modified repeat of (2); (5) section A2 (mm. 25–32), a repeat of (3); (6) section B (mm. 33–40), the bridge; and (7) sec- tion A2′ (mm. 41–48), a repeat of (3) and (5) modified to provide an end- ing. The three sixteen-measure units suggest a barform...
Journal Article
Journal of Music Theory (1 October 2018) 62 (2): 279–338.
Published: 01 October 2018
... 320 / 5874 : 346 – 48 . Cohn Richard . 2012 . Audacious Euphony: Chromaticism and the Triad’s Second Nature . New York : Oxford University Press . Douthett Jack Steinbach Peter . 1998 . “ Parsimonious Graphs: A Study in Parsimony, Contextual Transformations, and Modes of...
Journal Article
Journal of Music Theory (1 October 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. The...
Journal Article
Journal of Music Theory (1 April 1999) 43 (1): 135–163.
Published: 01 April 1999
.... (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 one of the...