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Published: 01 October 2021
Journal Article
Diatonic and Chromatic Tonicization in Rock Music
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Journal of Music Theory (2019) 63 (1): 1–34.
Published: 01 April 2019
... important tonal events such as prolongations and cadences. Using diatonic position finding to aid the analyst in determining a chord’s status, the article offers five preference factors to identify the most likely triadic tonicizers. This leads to some general conclusions regarding tonicizing chords...
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Published: 01 October 2021
Example 6. Root and bass motion classification and the Guidonian diatonic.
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in Music Theory Pedagogy in the Nineteenth Century: Comparing Traditions of Three European Conservatories
> Journal of Music Theory
Published: 01 April 2022
Figure 2. Chromatic elaboration of a diatonic progression in Sechter's Grundsätze (1853–54, 1:194).
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in Music Theory Pedagogy in the Nineteenth Century: Comparing Traditions of Three European Conservatories
> Journal of Music Theory
Published: 01 April 2022
Figure 3. Table of diatonic triads with Roman numerals in Richter's Lehrbuch der Harmonie (1853: 33).
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Opening and closing chords in “Morze”: (a) pentatonic and diatonic segments...
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in Lutosławski's Mid-Century Harmony: Reconceptualizing Chordal Space in the Five Iłłakowicz Songs
> Journal of Music Theory
Published: 01 October 2023
Figure 3. Opening and closing chords in “Morze”: (a) pentatonic and diatonic segments in separate hands; (b) combined hands in opening and closing chords; (c) affinity space representation, A7: 3–3–1-cycle and the mapping of opening and closing chords.
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Chromatic voice-leading possibilities understood with reference to a diaton...
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in Approximate Set Theory: Chord Categories, Voicings, and Interval Cycles
> Journal of Music Theory
Published: 01 April 2023
Figure 4.1. Chromatic voice-leading possibilities understood with reference to a diatonic (or equiheptatonic) template. In each column the chromatic voice leadings can be understood as manifestations of the diatonic template at the top. Beneath each column is a heuristic description
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Journal Article
Bartók's Polymodality: The Dasian and Other Affinity Spaces
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Journal of Music Theory (2015) 59 (2): 273–320.
Published: 01 October 2015
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space.2 In short, tonal approaches reduce the resultant chromaticism of the
combined strata into deeper-level diatonicism, whereas atonal approaches
scatter surface diatonicism into deeper-level chromaticism.
While the combination of diatonic layers...
Journal Article
Generic Sequences and the Generic Tonnetz
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Journal of Music Theory (2020) 64 (1): 63–103.
Published: 01 April 2020
...Julian Hook This article employs concepts from diatonic set theory, transformation theory, and neo-Riemannian theory in an investigation of sequences in generic (mod-7) pitch space. Sequences may be described using generic transposition operators , mod-7 analogs of the more familiar mod-12...
Journal Article
Scale Networks and Debussy
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Journal of Music Theory (2004) 48 (2): 219–294.
Published: 01 October 2004
...Dmitri Tymoczko 2004 © Yale University, New Haven, Connecticut 06520 2004 Antokoletz, Elliott. 1993 . “Transformations of a Special Non-Diatonic Mode in Twentieth-Century Music: Bartok, Stravinsky, Scriabin, and Albrecht.” Music Analysis 12/1 : 25 -45. Baker, David. 1985 . How...
Journal Article
Special Collections: Renewing Set Theory
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Journal of Music Theory (2016) 60 (2): 213–262.
Published: 01 October 2016
..., and Shostakovich. Diatonicity, one of the harmonic qualities, is a basic concern for all of these composers. Phase spaces and harmonic qualities also help to explain the “scale-network wormhole” phenomenon in Debussy and Ravel and better pinpoint the role of octatonicism in Stravinsky's and Ravel's music...
Journal Article
Generic (Mod-7) Voice-Leading Spaces
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Journal of Music Theory (2019) 63 (2): 167–207.
Published: 01 October 2019
...Leah Frederick This article constructs generic voice-leading spaces by combining geometric approaches to voice leading with diatonic set theory. Unlike the continuous mod-12 spaces developed by Callender, Quinn, and Tymoczko, these mod-7 spaces are fundamentally discrete. The mathematical...
Journal Article
Benjamin Britten's Musical Characterization of the Madwoman in Curlew River
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Journal of Music Theory (2024) 68 (1): 35–58.
Published: 01 April 2024
... with the Madwoman, and diatonic (modulo-7) transposition when associating them with the rational, masculine characters of the story. Consequently, he forges familiar associations between chromaticism and madness, on the one hand, and diatonicism and rationality, on the other. Furthermore, Britten marks...
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Journal Article
Modal Spelled Pitch Class, La-Minor Solfège, and Schubert’s Third Relations
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Journal of Music Theory (2020) 64 (2): 241–281.
Published: 01 October 2020
... pitch class transpositions show the scales and melodies that prolong third-related harmonies also participate in their own third relations. Copyright © 2020 by Yale University 2020 diatonic modes pitch class Franz Schubert solfège solmization I am grateful to Julian Hook for his...
Journal Article
A New Theory of Chromaticism from the Late Sixteenth to the Early Eighteenth Century
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Journal of Music Theory (2009) 53 (2): 255–304.
Published: 01 October 2009
... Theory of Chromaticism 261
diatonicism, which refers to any passage that uses only diatonic sonorities, and
suspended diatonicism, which consists of any passage for which it is impossible to
determine the governing tonal system. The latter usually occurs because the
accumulation...
Journal Article
An Intervallic Approach to Sixteenth-Century Chromaticism
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Journal of Music Theory (2021) 65 (2): 239–285.
Published: 01 October 2021
...Example 7. Diatonic semitones in the Guidonian diatonic. ...
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Journal Article
A Reply to Brian Hyer
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Journal of Music Theory (2003) 47 (1): 215–222.
Published: 01 April 2003
...., of the scale-steps of the diatonic system. That other phenomenon,
also customarily known as “chromaticism,” when two homonymous keys
combine as, e.g., [the notes] E and E-flat in C major/minor, I do not regard
as chromaticism but as an independent principle of composition, namely
mixture, which I...
Journal Article
Schubert, Chromaticism, and the Ascending 5-6 Sequence
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Journal of Music Theory (2006) 50 (2): 253–275.
Published: 01 October 2006
... of the 5-6 cycle are separately considered. The 5-phase trajectories are classified as diatonic, idiosyncratic, or obstinate. Despite its long history and current dominance, the mode of analysis based on Roman numerals and tonicizations is eschewed for sequential progressions. Instead, the connective role...
Journal Article
Chromaticism, Form, and Expression in Haydn's String Quartet Op. 76, No. 6
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Journal of Music Theory (2003) 47 (1): 41–101.
Published: 01 April 2003
... sub-
phrase of period 2 through the third subphrase of period 3, we hear a suc-
cession of four purely diatonic subphrases spanning sixteen measures
(mm. 120–36), the largest stretch of pure diatonicism in the entire move-
ment. The last three subphrases of period 1, by contrast, afford...
Journal Article
Tonality and Transformation
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Journal of Music Theory (2014) 58 (2): 257–263.
Published: 01 October 2014
... . “ The Descending Fourth and Its Symbolic Significance in Don Giovanni .” Theory and Practice 4/2 : 3 – 11 . ———. 1989 . “ A Mathematical Model of the Diatonic System .” Journal of Music Theory 33 : 1 – 25 . Brinkmann Alexander . 1986 . “ A Binomial Representation of Pitch for Computer...
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