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Journal Article
Journal of Music Theory (1 October 2013) 57 (2): 193–243.
Published: 01 October 2013
...Jeffrey DeThorne Correlating particular instrumental colors with pitch chromaticism, three early twentieth-century scholars demonstrate how a methodical use of colorful winds, less colorful strings, and wind-string mixtures informed actual orchestrational practices. After demonstrating how Wagner’s...
Journal Article
Journal of Music Theory (1 October 2018) 62 (2): 249–278.
Published: 01 October 2018
...Paul Steinbeck This article examines Anthony Braxton’s Composition 76 , a landmark work for three multi-instrumentalists. The score for Composition 76 employs graphic techniques (colors, shapes, and codes) as well as traditional notation on five-line staves. Original transcriptions of two studio...
Journal Article
Journal of Music Theory (1 October 2001) 45 (2): 489–490.
Published: 01 October 2001
... color facsimiles of the original sketchbooks, produced at full size. The sketchbooks will appear in reconstructed form, reuniting leaves scattered in separate collections. Extensive commentaries in each edition will place the sketchbooks in relation to other sources, while exploring the historical...
Journal Article
Journal of Music Theory (1 April 2017) 61 (1): 141.
Published: 01 April 2017
... poetic meter, libretti, symbolism, repertoire, and contemporary treatises, and their scholarly apparatus refer- ences a wide range of scholarship, both historical and theoretical. They make the character of the schemas vivid by colorful, text-associated names and typi- cal...
Journal Article
Journal of Music Theory (1 April 2018) 62 (1): 1–39.
Published: 01 April 2018
... Philosophy: With a Transcript of the Lecture-Course “On the Nature of the University and Academic Study” (Freiburg Lecture-Courses 1919) . Translated by Sadler Ted . London : Continuum . Hook Julian . 2014 . “ Key-Color Invariance .” Paper presented at the Mathematics of Music Interest...
Journal Article
Journal of Music Theory (1 April 1999) 43 (1): 1–19.
Published: 01 April 1999
... certainly is a contributing factor, but a counterexample points to the sig- nificance of the actual physiological mechanism of our perception of pitch. Color is also correlated with wavelength, but while we can certainly be aware of the linear arrangement that induces the correlation—see any rainbow...
Journal Article
Journal of Music Theory (1 April 2003) 47 (1): 155–214.
Published: 01 April 2003
... proofreaders survives.4 Berg added intermittent annotations to his copy of the piano reduction of the score, however, and these markings do shed some light on his thinking about the monodrama at the time. By cir- cling groups of notes and underlining text with different-colored ink, he differentiated two...
Journal Article
Journal of Music Theory (1 October 2001) 45 (2): 233–261.
Published: 01 October 2001
... monotonal. Yet, within that seemingly simple frame or “axis,” the song ranges over a broad—one might even say occult—harmonic terrain. The multi-colored harmonic palette of the song relates to the poem’s central image, the rainbow (“Bogenrand,” which in this context is synonymous with “Regenbogen 234...
Journal Article
Journal of Music Theory (1 October 2001) 45 (2): 435–456.
Published: 01 October 2001
... one. Interpenetration is thus a “soft” overlapping of segments. Still more subtle timbral transi- tions are possible. It must be kept in mind that the sound color of a seg- ment is determined not exclusively by main materials, but bears the stamp of all the material categories participating in the...
Journal Article
Journal of Music Theory (1 April 2014) 58 (1): 57–65.
Published: 01 April 2014
... University Press. The website provides full-color scans of the sketches and the complete particell, as well as other fascinating docu- ments, including a heavily annotated copy of Büchner’s play and a notebook Berg kept during his military service that will be of great use for further schol- arship and...
Journal Article
Journal of Music Theory (1 April 2006) 50 (1): 7–23.
Published: 01 April 2006
... informed readers that “editorial communication Music Teachers National Association in February 1959, and should be addressed to” Forte. 12 Journal of Music Theory Figure 1a.  JMT 5/1 (1961). NB: the cover designation 5/2 is a mistake. Print colors: light blue...
Journal Article
Journal of Music Theory (1 April 2011) 55 (1): 89–146.
Published: 01 April 2011
... elucidation of their musical thought in turn places the historical categories of tonal and post-tonal music that have colored its reception in a new light. The texts Schenker’s and Schoenberg’s Harmonielehren have similar motivations, sim...
Journal Article
Journal of Music Theory (1 October 2004) 48 (2): 337–354.
Published: 01 October 2004
... included descriptions of keys, but he did own the collected writings of E.T.A. Hoffman, whose essay “Kreisler’s Musico-Poetic Club” includes a typically fantastic portrayal of Kreisler—with whom the young Brahms strongly identified—playing chords on the piano and giv- ing them colorful descriptions...
Journal Article
Journal of Music Theory (1 April 2006) 50 (1): 111–127.
Published: 01 April 2006
... of the ways in which such values may be manifested in theory-based interpretation. The book is a model of what a hermeneutic music theory might look like, in which the hermeneutic is not merely a colorful overlay to the technical “substance” of an analysis...
Journal Article
Journal of Music Theory (1 April 2010) 54 (1): 75–90.
Published: 01 April 2010
... the Music of Ligeti .'' Indiana Theory Review 22 / 1 : 37 – 64 . ———. 2004 . `` `Tone-Color Movement, Changing Harmonic Planes': Cognition, Constraints, and Conceptual Blends in Modernist Music .'' In The Pleasures of Modernism: Intention, Meaning, and the Compositional Avant-Garde , ed...
Journal Article
Journal of Music Theory (1 April 2000) 44 (1): 127–169.
Published: 01 April 2000
.... 1768 . Dictionnaire de musique . Paris: Chez la veuve Duchesne. Saint Augustine. 1991 . Confessions . Trans. Henry Chadwick. Oxford: Oxford University Press. Sanders, Ernest H. 1980 . “Color.” In Vol. 4 , New Grove Dictionary of Music and Musicians , ed. Stanley Sadie, 584 . London...
Journal Article
Journal of Music Theory (1 April 2006) 50 (1): 128–139.
Published: 01 April 2006
... Nuages (vol. 4, example 48–10c), which with its fourteen staves consumes seven inches— could this not have been condensed into two or three staves, suitably anno- tated if orchestral color were at issue (which it is not in this example)? Could...
Journal Article
Journal of Music Theory (1 October 2010) 54 (2): 179–234.
Published: 01 October 2010
Journal Article
Journal of Music Theory (1 October 2014) 58 (2): 257–263.
Published: 01 October 2014
.../sdint model. The emphasis on the music-psychological aspects of the transformational model is reflected in Rings’s terminology: throughout he uses chroma to refer to the aspect of tone reflected by mod 12 pitch-class notation (i.e., color without regard for enharmonic spelling) and qualia to...
Journal Article
Journal of Music Theory (1 April 2016) 60 (1): 89–95.
Published: 01 April 2016
...” (204, 13, xvii). Morgan’s conception of Schenker’s theory, colored by its role in Morgan’s ideology, is not the same as “Schenker’s conception of it” (205). The differences come into focus through an examination of Morgan’s premises. Morgan claims that the...