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consonance

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Journal Article
Journal of Music Theory (1 October 2013) 57 (2): 245–286.
Published: 01 October 2013
...Roger Mathew Grant The music-theoretical formulations of the early modern mathematician Leonhard Euler (1707-83) are customarily remembered—and often dismissed—for their unconventional rankings of the consonances. A closer examination of Euler’s writings, however, reveals that he intended his...
Journal Article
Journal of Music Theory (1 October 2010) 54 (2): 179–234.
Published: 01 October 2010
... types in Guillaume de Machaut's nineteen three-voice motets. Building initially upon Sarah Fuller's work, the proposed schema introduces a more nuanced approach to categorizing the intervallic content of consonant and dissonant sonorities. Moreover, by calling attention to the outer voices of certain...
Journal Article
Journal of Music Theory (1 October 2017) 61 (2): 243–287.
Published: 01 October 2017
... chains (P/M, S/P, and S/M), polychords, and reharmonizations. The framework engages in similar voice-leading procedures as other atonal voice-leading practices, and its relations can be generalized to trichord types beyond the consonant triad. Schnittke’s triadic usage has been previously associated with...
Journal Article
Journal of Music Theory (1 April 2013) 57 (1): 87–118.
Published: 01 April 2013
... of each segment, phrase, and period), cadential hemiolas emerge as consonant agents, in the large rhetorical scheme of things. These hemiolas, which intensify the end-accented beats, assert the notated meter, not the metrical displacement. In so doing, they either reinforce the basic metrical premise...
Journal Article
Journal of Music Theory (1 April 2009) 53 (1): 57–94.
Published: 01 April 2009
... of metrical dissonance but is also informed by William Caplin's theory of formal functions, by Robert Philip's categorization scheme for tempo rubato in early recordings, and by research in meter perception and empirical performance analysis. Several addenda to Krebs's taxonomy of metrical consonance...
Includes: Supplementary data
Journal Article
Journal of Music Theory (1 April 2005) 49 (1): 45–108.
Published: 01 April 2005
...-Class Sets.” Music Perception 11 : 289 –305. Hutchinson, W., and L. Knopoff. 1978 . “The Acoustic Component of Western Consonance.” Interface 7 : 1 –29. Isaacson, Eric J. 1990 . “Similarity of Interval-Class Content between Pitch-Class Sets: The IcVSIM Relation.” Journal of Music Theory...
Journal Article
Journal of Music Theory (1 April 2001) 45 (1): 190–204.
Published: 01 April 2001
...- nance/dissonance, passing, Zug, Urlinie, delay, and unity. A distinction between absolute and contextual dissonance sets up the discussion of “passing.” If “in traditional accounts, consonance and dissonance de- scribe the intervallic relation between two tones, . . . Schenker’s working 194...
Journal Article
Journal of Music Theory (1 April 2000) 44 (1): 45–79.
Published: 01 April 2000
... secular songs. Spe- cifically, basic counterpoint, as taught in treatises, is employed as a way of understanding the style of Machaut’s ballades, although it is hoped that the notation and procedure of the analysis will find a broader application. The basic consonant dyads proper to simple counterpoint...
Journal Article
Journal of Music Theory (1 April 2014) 58 (1): 79–101.
Published: 01 April 2014
... The Oxford Handbook of Neo-Riemannian Theories , ed. Gollin Edward Rehding Alexander , 548 – 77 . Oxford : Oxford University Press . Huron David . 1991 . “ Tonal Consonance versus Tonal Fusion in Polyphonic Sonorities .” Music Perception 9 : 135 – 54 . ———. 2006...
Journal Article
Journal of Music Theory (1 April 2007) 51 (1): 5–49.
Published: 01 April 2007
Journal Article
Journal of Music Theory (1 April 2005) 49 (1): 109–140.
Published: 01 April 2005
... common parlance so thor- oughly as “parsimonious voice leading” and its variants. Richard Cohn first used the phrase to describe the ability of the consonant triad to gen- erate more of its own kind through (1) the movement of a single pitch class by step while (2) preserving two common tones...
Journal Article
Journal of Music Theory (1 April 2000) 44 (1): 1–43.
Published: 01 April 2000
... melodic diminution can be the source of considerable strug- gle. Very often a clear picture of top-voice structure emerges through at- tention to two factors: the consonant or dissonant status of pitches in rela- tion to the harmony, and stepwise connections within a larger melodic line. It would be...
Journal Article
Journal of Music Theory (1 April 2013) 57 (1): 159–191.
Published: 01 April 2013
... exposition of five “features” that music may exhibit: conjunct melodic motion, acoustic consonance, harmonic consistency, underlying pitch-class collections of limited size (“macrohar- monies” with fewer than nine notes), and centricity. A confluence of these, Tymoczko believes, defines an “extended...
Journal Article
Journal of Music Theory (1 October 2002) 46 (1-2): 207–283.
Published: 01 October 2002
.... Persichetti, Vincent. 1962 . Twentieth-Century Harmony: Creative Aspects and Practice . London: Faber and Faber. Plomp, R. and W. J. M. Levelt. 1965 . “Tonal Consonance and Critical Bandwidth.” The Journal of the Acoustical Society of America 38 : 548 -60. Pople, Anthony. 1997 . “Early Works...
Journal Article
Journal of Music Theory (1 October 2003) 47 (2): 225–272.
Published: 01 October 2003
... result, con- trapuntally engaging. By comparison, (b) is motivically expansive unto thematic, triadically consonant, and contrapuntally limpid. Compared to (a), (b) seems the more typically sequential of the two from a later, com- mon-practice perspective, and we will therefore begin our genealogical...
Journal Article
Journal of Music Theory (1 April 2008) 52 (1): 151–158.
Published: 01 April 2008
... Phrygian to designate them. The Zarlino article notes in passing the theo- rist’s preoccupation with the number six, but its significance is never spelled out, and its connection to the imperfect consonance of contemporaneous musical practice will not be immediately obvious to the beginning reader or...
Journal Article
Journal of Music Theory (1 April 2001) 45 (1): 73–118.
Published: 01 April 2001
... characteristic beyond the confines of just the time-interval to virtually the entire musical fabric. The total consonance at the beginning of every half-note is disturbed only by the pair of pass- ing quarter-notes filling in the rising fourth in the dux at m. 4 and every recurrence thereof. The only other non...
Journal Article
Journal of Music Theory (1 April 2009) 53 (1): 1–56.
Published: 01 April 2009
... that is not a factor of 12, and the latter does not contain 1. The number of integers in a metric interpretation specifies its number of levels. For example, 1, 2, 4, 12 and 1, 4, 6, 12 each has four levels, while 1, 6, 12 has three. A metric interpretation is consonant when the division of...
Journal Article
Journal of Music Theory (1 October 2007) 51 (2): 211–243.
Published: 01 October 2007
... from Cohn 2001, 304) pulse levels are isochronous (consisting of evenly spaced pulses) and in which each pulse level relates to the next by a ratio of 2 or 3,1 ensuring that each metric state is “fully consonant” as defined by Cohn (1992b, 8...
Journal Article
Journal of Music Theory (1 April 2011) 55 (1): 89–146.
Published: 01 April 2011