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diatonic modes

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Journal Article
Journal of Music Theory (2020) 64 (2): 241–281.
Published: 01 October 2020
...), modal spelled pitch class transpositions show the scales and melodies that prolong third-related harmonies also participate in their own third relations. Keywords diatonic modes, pitch class, Franz Schubert, solfège, solmization Building on the group-theoretical ideas in David Lewin s (1987) seminal...
Journal Article
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
Journal of Music Theory (2005) 49 (2): 333–357.
Published: 01 October 2005
..., recorded in 1959 and one of the important points of departure for modal jazz. Example 2 shows the organizational plan for “Flamenco Sketches”: notice that each harmony uses a single diatonic mode as the pitch source for improvisation and for accompaniment. As Example 2 indicates, “Fla...
Journal Article
Journal of Music Theory (2011) 55 (2): 271–281.
Published: 01 October 2011
... the pitches of the gamut to seven diatonic positions even as it retains the cantus durus/cantus mollis dual- ism. One senses that the hybrid model proposed here is meant to account both for the presumed hexachord-based diatonicism of pre-Renaissance eras...
Journal Article
Journal of Music Theory (2016) 60 (2): 281–294.
Published: 01 October 2016
... as to be expected (the normative backbeat is one obvious case), and cross-rhythms are considered categorically different in their conspicuousness. Moore argues for analyzing harmony according to the diatonic jazz modes, with his roman numerals reflecting this stance, and he gives harmonic loops the unwieldy...
Journal Article
Journal of Music Theory (2015) 59 (2): 273–320.
Published: 01 October 2015
... 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
Journal of Music Theory (2016) 60 (2): 213–262.
Published: 01 October 2016
... and Scales.” Journal of Mathematics and Music 5/3: 149–69. Antokoletz, Elliott. 1993. “Transformations of a Special Non-diatonic Mode in Twentieth- Century Music: Bartók, Stravinsky, Scriabin, and Albrecht.” Music Analysis 12/1: 25–45...
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 (2016) 60 (1): 89–95.
Published: 01 April 2016
... established to this point is the initial com- posing out of the Naturklang by means of descending stepwise motion coun- terpointed by an arpeggiation through the fifth. But there are five diatonic modes in which such a composing out is possible (diatonic in present-day...
Journal Article
Journal of Music Theory (2019) 63 (2): 261–267.
Published: 01 October 2019
... democratization of diatonic modes, only the fixed scale degrees 1, 2, 4, and 5 have natural versions as well as flattened or sharpened versions. The variable scale degrees 3, 6, and 7 do not have natural versions, only lower and upper versions, for which Doll uses superscript arrows pointing down or up instead...
Journal Article
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
Journal of Music Theory (2003) 47 (1): 215–222.
Published: 01 April 2003
... phenomena, from “strict diatony” (major, nat- ural minor, and the church modes as understood circa 1900) to mixture (“combination” in Borgese’s translation) to chromaticism. Instead of two genera, the diatonic and the chromatic, there are three, although mixture is regarded as an expansion...
Journal Article
Journal of Music Theory (2005) 49 (1): 141–180.
Published: 01 April 2005
... that the piece is in the diatonic-enharmonic mode. In Rameau’s understanding, the enharmonic is not a mode, in the way major and minor are, but a genus. As such, the enharmonic can momentarily impinge on the diatonic mode, but cannot in itself be the basis of a composition.18 In modern music, the pure...
Journal Article
Journal of Music Theory (2021) 65 (2): 239–285.
Published: 01 October 2021
... in the dorian mode. In b , we see these locations in the transposed dorian. 17 Following standard usage, I refer to the untransposed and transposed systems as cantus durus and mollis , respectively. 18 Each diatonic semitone occupies the center of a pattern of tones and semitones called a hexachord...
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Journal Article
Journal of Music Theory (2003) 47 (1): 41–101.
Published: 01 April 2003
... on a rather cryptic, understated theme. The entire quartet is perva- sively major, with minor-mode contrasts obtained mainly by briefly touching upon the diatonic minor functions—ii (f minor) and, more rarely, vi (c minor)—and momentary borrowings from the parallel minor. As such, in the context...
Journal Article
Journal of Music Theory (2015) 59 (1): 121–181.
Published: 01 April 2015
... (e.g., BDF and D); b. dominant sevenths, half-diminished sevenths, and their shared perfect fifth; c. diatonic scales, pentatonic scales, and the major third that is 1ˆ–3ˆ of their major modes; d. harmonic minor scales and their tonic minor...
Journal Article
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...
Journal Article
Journal of Music Theory (2000) 44 (2): 323–379.
Published: 01 October 2000
...) Melody moves primarily by diatonic step, secondarily by chro- matic step or arpeggiation. (2) An unstable melodic pitch normally resolves downward and/or to its nearest stable neighbor. (3) Melody normally comes to a point of final rest on the tonic. Evidence of the embodied origins...
Journal Article
Journal of Music Theory (2008) 52 (1): 13–40.
Published: 01 April 2008
... (conjunct and disjunct) in the Boethian diatonic system brings on another encounter between unfamiliar Greek terminology and chant practices (Musica, 178–80).34 Again, mode figures as a framework for comprehension...
Journal Article
Journal of Music Theory (2005) 49 (1): 109–140.
Published: 01 April 2005
... and Other Music Theories.” Perspectives of New Music 21 / 1–2 : 312 –71. ———. 1986 . “Music Theory, Phenomenology, and Modes of Perception.” Music Perception 3 : 327 –92. Reprinted in Studies in Music with Text, Oxford Studies in Music Theory. Oxford: Oxford University Press, 2006; 53–108...