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chromatic harmony

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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 (2): 241–281.
Published: 01 October 2020
... . Audacious Euphony: Chromatic Harmony and the Triad’s Second Nature . New York : Oxford University Press . Curwen John . 1853 . The Standard Course of Lessons and Exercises in the Tonic Sol-Fa Method of Teaching Music . London . Dahlhaus Carl . 1986 . “ Sonata Form...
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 (2005) 49 (1): 45–108.
Published: 01 April 2005
... of measuring that quality in simple semitones. Traditional notions of consonance and dissonance relate in suggestive ways to the qualities of set-class evenness and chromaticness described here. The traditionally dissonant harmonies tend to be the most chro- matic ones, and the chromatic harmonies...
Journal Article
Journal of Music Theory (2018) 62 (2): 165–204.
Published: 01 October 2018
... : 9 – 40 . Cohn Richard . 1997 . “ Neo-Riemannian Operations, Parsimonious Trichords, and Their ‘Tonnetz’ Representations .” Journal of Music Theory 41 / 1 : 1 – 66 . Cohn Richard . 2012 . Audacious Euphony: Chromatic Harmony and the Triad’s Second Nature . New York...
Journal Article
Journal of Music Theory (2014) 58 (2): 179–233.
Published: 01 October 2014
... . ———. 1997 . “ Neo-Riemannian Operations, Parsimonious Trichords, and Their Tonnetz Representations .” Journal of Music Theory 41/1 : 1 – 66 . ———. 1998 . “ Square Dances with Cubes .” Journal of Music Theory 42/2 : 283 – 96 . ———. 2012 . Audacious Euphony: Chromatic Harmony and the Triad’s...
Journal Article
Journal of Music Theory (2020) 64 (2): 297–308.
Published: 01 October 2020
... repertories for one of the courses, which had previously cov- ered chromatic harmony, presumably as used in nineteenth-century art music. It now focuses on pop/commercial music (e.g., lead-sheet notation, blues and other pop forms, and modal harmony). Though it wasn t clear to me where the venerable named...
Journal Article
Journal of Music Theory (2013) 57 (2): 193–243.
Published: 01 October 2013
..., E minor is not an abso- lute color in itself; rather, the chromatic harmony and ♭colorful instrumenta- tion work together to create absolute color. In Rothfarb’s words: “The features that isolate E minor outweigh,” for Kurth, “those that integrate...
Journal Article
Journal of Music Theory (2020) 64 (1): 63–103.
Published: 01 April 2020
.... The Generalized Tonnetz. Journal of Music Theory 56, no. 1: 1 52. Yust, Jason. 2015. Distorted Continuity: Chromatic Harmony, Uniform Sequences, and Quantized Voice Leadings. Music Theory Spectrum 37, no. 1: 120 43. Julian Hook is associate professor of music theory at Indiana University. His book Exploring...
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 (2014) 58 (1): 79–101.
Published: 01 April 2014
... 2014 Work Cited Bungert James . 2012 . Review of Richard Cohn, Audacious Harmony: Chromaticism and the Triad’s Second Nature . Journal of Musicological Research 31 : 326 – 29 . Carey Norman . 2002 . “ On Coherence and Sameness, and the Evaluation of Scale Candidacy Claims...
Journal Article
Journal of Music Theory (2014) 58 (2): 155–178.
Published: 01 October 2014
...- ena have been observed in music as well: in a study of expressive performance, 158 JOURNAL of MUSIC THEORY Christopher Bartlette (2007) found that performers tend to take more time on unexpected (e.g., chromatic) harmonies.2 The use...
Journal Article
Journal of Music Theory (2011) 55 (1): 43–88.
Published: 01 April 2011
... Online 9/4: 1–19. 2004. “Uncanny Resemblances: Tonal Signification in the Freudian Age.” Journal of the American Musicological Society 57/2: 285–323. 86 Journal of Music Theory Forthcoming. Audacious Euphony: Chromatic Harmony and the Triad’s...
Includes: Supplementary data
Journal Article
Journal of Music Theory (2021) 65 (2): 239–285.
Published: 01 October 2021
.... The harmonies that support the chromatic semitones in this passage also yield to triadic classification. Note how this approach reveals a similarity between these paragons of early and late Renaissance chromaticism: they both involve root motion by major third. It also reveals differences. First, the triads...
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Journal Article
Journal of Music Theory (2001) 45 (1): 204–227.
Published: 01 April 2001
... for Schenker there is nothing chromatic here. Every note in Schenker’s expanded C-system derives from some C-scale—whether pure major, pure minor, or Phry- gian—so in Schenker’s view the chart contains only diatonic notes and chords. In his account, only tonicization introduces real chromaticism. Nor does...
Journal Article
Journal of Music Theory (2003) 47 (1): 41–101.
Published: 01 April 2003
..., such that B≥, CΩ, and D≤≤ are all members of pc 0; C≥ and D≤ are the two members of pc 1, and so forth. The Menuetto of Haydn’s op. 76/6, given in Example 1, provides a clear example of chromatic unfolding operating in conjunction with tonal harmony and classical period structure. The unfolding...
Journal Article
Journal of Music Theory (2009) 53 (2): 191–226.
Published: 01 October 2009
... A≤ are what prepare the German augmented-sixth chord in m. 75: The augmented sixth represents a logical outgrowth of the subdominant that began in m. 51 because the two harmonies create an extended chromatic voice exchange that spans nearly the entire development section.19 By utilizing...
Journal Article
Journal of Music Theory (2006) 50 (2): 143–179.
Published: 01 October 2006
... in writings focused on harmonic interpretation. Here I have in mind research such as Patrick McCreless’s work on motivic func- tions for chromatic chords and tonicizations (1990), David Beach’s insights into the interaction of harmony and linear progression in Schubert (1994), and articles on the topic...
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 (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...