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Journal Article
Journal of Music Theory (2007) 51 (2): 187–210.
Published: 01 October 2007
...Matt BaileyShea This article analyzes Hugo Wolf's Auf eine Christblume I and II in relation to Robert Bailey's concept of the “double-tonic complex.” These songs project an intricate pairing of D and F# tonalities that often result in various hexatonic relationships. My interpretation associates...
Journal Article
Journal of Music Theory (2007) 51 (1): 85–135.
Published: 01 April 2007
... advantage to composers so trained. Though an old, nonverbal method of craft instruction, partimenti were nonetheless a cognitively optimal means of developing fluency in a complex, multivoice style of music. In memorizing exemplars of small contrapuntal schemata, fitting them to the matching locations...
Journal Article
Journal of Music Theory (2007) 51 (2): 245–276.
Published: 01 October 2007
...Elizabeth Hellmuth Margulis This article explores the functions of silence in common-practice music, with an emphasis on the characteristics of perceived silence as distinct from notated and acoustic silence. Context is shown to guide listening in complex ways that enable the same acoustic silence...
Journal Article
Journal of Music Theory (2018) 62 (1): 85–118.
Published: 01 April 2018
... is a complex and multifaceted phenomenon, a feature true especially of Sibelius’s later compositions. Sibelius’s tonal practice in Tapiola is based neither on first-practice functional harmony nor on second-practice triadic chromaticism but rather on the use of distinct scale collections and their interaction...
Journal Article
Journal of Music Theory (2018) 62 (2): 249–278.
Published: 01 October 2018
... recordings illustrate the strategies that the performers use to realize Braxton’s complex score, uncovering the structure of a composition previously thought to be resistant to analysis. The article also sheds light on the diverse influences that can be seen in the graphic score—and heard in the performances...
Journal Article
Journal of Music Theory (2009) 53 (1): 137–162.
Published: 01 April 2009
... rise to the instrument's rhythmic complexity. Drawing upon these permutational relationships, this study analyzes excerpts from bluegrass banjo repertoire in terms of the connections among rhythmic patterns rendered as beat-class sets. Last, it examines the interaction between these sets and metric...
Journal Article
Journal of Music Theory (2010) 54 (2): 235–282.
Published: 01 October 2010
...Danuta Mirka Two closely interrelated techniques of phrase expansion occasionally used by eighteenth-century composers but so far not recognized by music theorists are twisted caesuras and overridden caesuras . Both of them represent complex games played by composers with their listeners on two...
Journal Article
Journal of Music Theory (2010) 54 (2): 283–310.
Published: 01 October 2010
... change in musical structures. Yet this historical dimension, in many ways typical of its era, is complicated by a tenuous balance between the determinism demanded by rigorous scientific explanation and Helmholtz's evident desire to preserve a complex role for the “choice” of fundamental aesthetic...
Journal Article
Journal of Music Theory (2008) 52 (2): 181–218.
Published: 01 October 2008
...) and by contemporary usage (Sisman, Agawu); the specific invocation of it in connection with the display episodes is suggested initially by their characteristic bipartite format. Seen through the variation lens, elements such as contrapuntal ingenuity, complex modular arrangements within and between phrases...
Journal Article
Journal of Music Theory (2021) 65 (1): 39–80.
Published: 01 April 2021
...Rebecca Simpson-Litke Abstract This article examines some of the complex interactions between salsa music and dance by focusing on physical interpretations of specific types of metric ambiguities and disruptions. It explores both the fairly frequent displacement dissonances that arise when...
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in Flipped, Broken, and Paused Clave : Dancing through Metric Ambiguities in Salsa Music
> Journal of Music Theory
Published: 01 April 2021
Example 1. Formal sections of a salsa arrangement and their corresponding percussion complexes. This example combines information from Washburne 2008 : figures 6.1, 6.2, 6.3. In Washburne's notation, noteheads placed above and below the staff indicate an alternation of high- and low-pitched
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Journal Article
Journal of Music Theory (2002) 46 (1-2): 153–205.
Published: 01 October 2002
... this corre-
spondence easily between the CycVs of the respective sets. Figure 11b,
however, is somewhat more complex. Under T0, the two CycVs vary only
with regard to the orbit pcset {1,4,7,a it is present in CYC(Y) but not
in CYC(X). However, X is J-related to Y using T0: the orbit pcset {1,7}
∈ CYC(X...
Journal Article
Journal of Music Theory (2005) 49 (2): 241–275.
Published: 01 October 2005
...-consuming process that neous process that involves emo-
involves rational reflection and tional invention and intuitive impulse
intellectual calculation to create to create simple, direct expressions.
complex, sophisticated relation-
ships.
I suspect that many musicians may...
Journal Article
Journal of Music Theory (2020) 64 (2): 293–296.
Published: 01 October 2020
... with late fourteenth-century notational complex- ity. Critical of the new style, Jacobus used this word to condemn the crude- ness and excessive complexity of the ars nova. But Desmond shows that other fourteenth-century scholastics employed this term to celebrate sharpness, precision, clarity, complexity...
Journal Article
Journal of Music Theory (2015) 59 (1): 183–190.
Published: 01 April 2015
... of the Society for Music Theory , Charlotte, NC. ———. 2014 . “ Complex Multiplication, Structure, and Process: Harmony and Form in Boulez’s Structures II .” Music Theory Spectrum 36/1 : 86 – 120 . Scotto Ciro . 2014 . “ Reexamining PC-Set Multiplication, Complex Multiplication...
Journal Article
Journal of Music Theory (2022) 66 (2): 262–272.
Published: 01 October 2022
... the feeling of little dejà-vu moments throughout the book. This happens because he repeats himself and often brings elements already touched on, but each time with more information and greater complexity. Thus, the understanding of the book's argument is analogous to the study of partimenti: with each new...
Journal Article
Journal of Music Theory (2022) 66 (2): 280–290.
Published: 01 October 2022
... to a single complex. CMA instead includes two alternative non-Propagative archetypes: Accretional and Cyclic. Accretion is effectively the reverse of Propagation. The Focal Point occurs near the end of the piece, rather than at the beginning. Thus, material does not flow out of the Focal Point; it flows...
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Journal Article
Journal of Music Theory (2004) 48 (2): 295–324.
Published: 01 October 2004
... was able to convey a complex plot by cutting
between the various storylines. While it was technically possible to record
the complete chronology of each storyline and cut from one to the other,
Porter avoided such a pedantic narrative. Instead, action in Porter’s film
is continued from one shot...
Journal Article
Journal of Music Theory (2006) 50 (1): 103–110.
Published: 01 April 2006
... Journal of Music Theory
in the Ursatz is almost never a key section. Thus, the relationship between
Schenkerian analysis and key analysis is complex and indirect.)1
One might say the reason that key analysis of the kind I have described...
Journal Article
Journal of Music Theory (1999) 43 (2): 359–371.
Published: 01 October 1999
... and critical thought which is torn between formalist and
hermeneutic strategies—just as, in composition itself, our present cultural
phase explores an unusually wide range of possibilities between the ultra-
complex and the determinedly, minimally simple.
Most analysts, today, resist those “abstractions...
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