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diatonicism

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Journal Article
Journal of Music Theory (2015) 59 (2): 273–320.
Published: 01 October 2015
.... © 2015 by Yale University 2015 Béla Bartók Mikrokosmos Piano Sonata polymodality polytonality diatonicism chromaticism scale theory rotational form Works Cited Antokoletz Elliot . 1984 . The Music of Béla Bartók: A Study of Tonality and Progression in Twentieth Century Music...
Journal Article
Journal of Music Theory (2009) 53 (2): 255–304.
Published: 01 October 2009
... may exist for affective or text-painting reasons but do not cor- rect any type of incorrect sonority. Indirect Direct Diatonicism chromaticism chromaticism Pure...
Journal Article
Journal of Music Theory (2002) 46 (1-2): 347–363.
Published: 01 October 2002
... have to be understood and evaluated in light of that fact. It is true that Schenker subordinates chromaticism to the controlling diatonicism of the mixed major/minor mode, but that diatonicism, as he conceives it, is one that includes rather than excludes chromatic phenomena. In §155, his...
Journal Article
Journal of Music Theory (2002) 46 (1-2): 364–368.
Published: 01 October 2002
... have to be understood and evaluated in light of that fact. It is true that Schenker subordinates chromaticism to the controlling diatonicism of the mixed major/minor mode, but that diatonicism, as he conceives it, is one that includes rather than excludes chromatic phenomena. In §155, his...
Journal Article
Journal of Music Theory (2011) 55 (2): 271–281.
Published: 01 October 2011
... 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 (2006) 50 (1): 65–76.
Published: 01 April 2006
... the same measure: D–C in the alto, beat 1, and A–G in the soprano of beat 3. It would appear, then, that Bach’s intent was to focus attention on the chromatic sequences of the passus duriusculus and to use diatonicism as a foil in the free parts...
Journal Article
Journal of Music Theory (2017) 61 (2): 243–287.
Published: 01 October 2017
Journal Article
Journal of Music Theory (2002) 46 (1-2): 1–56.
Published: 01 October 2002
Journal Article
Journal of Music Theory (2006) 50 (1): 25–63.
Published: 01 April 2006
..., Eytan. 1996 . “Coherent Tone-Systems: A Study in the Theory of Diatonicism.” Journal of Music Theory 40/1 : 39 –59. Almén, Byron. 2003 . “Narrative Archetypes: A Critique, Theory, and Method of Narrative Analysis.” Journal of Music Theory 47/1 : 1 –39. Atkinson, Charles M. 1980...
Journal Article
Journal of Music Theory (2003) 47 (1): 41–101.
Published: 01 April 2003
... largest stretch of pure diatonicism in the entire move- ment. The last three subphrases of period 1, by contrast, afford the longest stretch of chromatic concentration (mm. 80–92). Only the last subphrase (3b) repeats the pattern of an earlier subphrase—the first (1a)—perhaps to form with it a kind of...
Journal Article
Journal of Music Theory (2007) 51 (2): 187–210.
Published: 01 October 2007
... diatonicism for the innocent 6 Though the poem was clearly inspired by Mörike’s own hero Parsifal” (225). discovery of the flower, it is not autobiographical. The cir- 4 The clearest published explanation of the...
Journal Article
Journal of Music Theory (2015) 59 (2): 191–234.
Published: 01 October 2015
Journal Article
Journal of Music Theory (2014) 58 (2): 235–256.
Published: 01 October 2014
.... Riemann’s role in opening up the concept of key to chromaticism, for example, via sec- ondary dominants, is positively and correctly emphasized, while serving as a further explanation for the very limited acceptance of his theories by those for whom the connection between tonality and diatonicism was...
Journal Article
Journal of Music Theory (2005) 49 (2): 301–332.
Published: 01 October 2005
... chords in mm. 9–10 is not unusual. However, its thick chromatic content and rapid harmonic rhythm come as a surprise after the static diatonicism of mm. 1–8. Working backward, the A7 is preceded by its dominant, E7; the II–V group is realized as F≥m7-5 F7, using a substitute dominant in a pairing...
Journal Article
Journal of Music Theory (1999) 43 (1): 135–163.
Published: 01 April 1999
Journal Article
Journal of Music Theory (2009) 53 (2): 191–226.
Published: 01 October 2009
Journal Article
Journal of Music Theory (2000) 44 (2): 323–379.
Published: 01 October 2000
Journal Article
Journal of Music Theory (2009) 53 (1): 95–136.
Published: 01 April 2009