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Journal Article
Journal of Music Theory (2013) 57 (1): 87–118.
Published: 01 April 2013
...Channan Willner Hemiolas are by definition metrically dissonant, in durational disagreement with the notated meter. But when extended metrical shifts (known also as afterbeats or afterbeat displacement ) displace a composition in part or in whole to the right (in order to emphasize the closing beat...
Journal Article
Journal of Music Theory (2017) 61 (2): 143–170.
Published: 01 October 2017
..., and bridge sections in a corpus of two hundred rock songs. I begin with an overview of the corpus itself, followed by a discussion of my methodology. I then present the results of my study, which quantifies harmony via two main approaches: the proportion of time spent on a chord root and the average duration...
Journal Article
Journal of Music Theory (2021) 65 (1): 17–38.
Published: 01 April 2021
...Mari Romarheim Haugen Abstract This article studies the rhythm of Norwegian telespringar , a tradition with an intimate relationship between music and dance that features a nonisochronous meter; that is, the durations between adjacent beats are unequal. A motion-capture study of a fiddler and dance...
FIGURES | View All (4)
Image
Published: 01 April 2021
Figure 2. Footwork pattern for the on-1 salsa basic (single dancer on score, noting contour and durational accents). C = large contour accent; c = small contour accent; D = (interonset) durational accent; R = right foot; L = left foot. This footwork is from the follow's perspective. To obtain More
Journal Article
Journal of Music Theory (2013) 57 (2): 245–286.
Published: 01 October 2013
... theory of consonance to assess and explain the interaction of rhythms as well as the interaction of pitches. At several points in his 1739 Tentamen novae theoriae musicae ( Attempt at a New Theory of Music ), Euler suggests that everything he has written about consonance should also apply to duration...
Image
Published: 01 April 2021
Figure 3. (a) A simplified transcription of “ Sud-Kåsen ” and plots showing (b) the amplitude waveform, (c) the audio spectrogram, (d) bowing movements, and (e) the vertical motion of the fiddler's feet over four measures. The foot stamping follows a long-medium-short duration pattern More
Journal Article
Journal of Music Theory (2001) 45 (2): 457–469.
Published: 01 October 2001
... their grouping analysis, 458 Lerdahl and Jackendoff employ a separate metric grid that allow them to describe the complex ways in which grouping and meter sometimes align and sometimes do not. Schachter’s work goes one step further by introducing a new distinc- tion between tonal and durational rhythm...
Journal Article
Journal of Music Theory (2021) 65 (1): 11–16.
Published: 01 April 2021
... This affects how musicians and dancers respectively interpret counting numbers. For the musician, the count identifies an onset point, which has no duration; it is an Aristotelian “now.” For the dancer, the count initiates a span of time, which has a duration. This is not to say that points and spans exclude...
FIGURES
Journal Article
Journal of Music Theory (2020) 64 (1): 37–61.
Published: 01 April 2020
... attack of the work and extends through the rests in mm. 2 3. The combined duration of the rests in mm. 2 3 is 41 3 beats. Part 2 (C) begins with the initial attack of m. 3 and extends through the rests in mm. 8 9 (combined duration of rests in mm. 8 9 = 3½ beats). Carter groups all the attacks in part 2...
Journal Article
Journal of Music Theory (2012) 56 (2): 169–223.
Published: 01 October 2012
... familiar in the context of music theory instruction. For example, Renaissance-style counterpoint codifies the rhythmic constraints of sixteenth-century vocal polyphony in the form of rules specifying the allowed succession of note durations...
Journal Article
Journal of Music Theory (2009) 53 (1): 57–94.
Published: 01 April 2009
... . “Duration Discrimination in a Series of Rhythmic Events.” Perception and Psychophysics 31 : 86 -89. Hatten, Robert. 2002 . Review of Fantasy Pieces, by Harald Krebs. Music Theory Spectrum 24 : 273 -82. Hudson, Richard. 1994 . Stolen Time: The History of Tempo Rubato . Oxford: Clarendon...
Includes: Supplementary data
Journal Article
Journal of Music Theory (1999) 43 (2): 359–371.
Published: 01 October 1999
... involves the time factor—duration, rhythm, meter—in challengingly di- rect ways, and it is the concern to enrich the process of theoretical and analytical interpretation which is evident from Hasty’s declaration that “the essential contribution of meter to ‘form’” is “that whatever the piece becomes...
Journal Article
Journal of Music Theory (1999) 43 (1): 165–190.
Published: 01 April 1999
... the periodic nature of neuronal firings, the oscillatory function that these neurons represent, the coupled nature of neural oscil- lators that results in linkages of periodicities covering varying spans of durations. Yet a significant portion of the book deals with these facts. Chapter 6 is devoted...
Journal Article
Journal of Music Theory (2001) 45 (2): 345–433.
Published: 01 October 2001
... by a downward leap of thirteen semitones—the largest, and only downward, leaps in the passage. In the opening bars of Babbitt’s None but the Lonely Flute (Example 1c), many large leaps in pitch and sudden changes in durations or dynam- ics may suggest segment boundaries. But with so many choices, which...
Journal Article
Journal of Music Theory (2013) 57 (2): 419–431.
Published: 01 October 2013
... a context of “free” rhythm) and the pitches of salient tones (i.e., similarity of pitches and similarity of time intervals between tones within a phrase). In Widdess’s account, salience is a conse- quence of relative loudness and duration, as well as immediate repetition and nonstepwise melodic...
Journal Article
Journal of Music Theory (2000) 44 (1): 171–229.
Published: 01 April 2000
... of the Literature As the first algorithmic approach to segmentation based on Gestalt ideas about music perception, James Tenney and Larry Polansky’s 1980 article presents a proximity-based algorithm focusing entirely upon in- 172 terval and duration. In a melodic line, segmentations are made wherever one...
Journal Article
Journal of Music Theory (2012) 56 (1): 87–120.
Published: 01 April 2012
... analyzed. Example 4 illustrates the three musical parameters—a contour interval, a normal melodic interval, and a rhythmic duration—that are associated with each note in a line. The melodic interval is the number of diatonic steps by which the note...
Journal Article
Journal of Music Theory (2020) 64 (2): 293–296.
Published: 01 October 2020
... a shift away from tagged semi- breves to the autonomous minim figure, and the use of imperfection (remov- ing a third of a triplex note by placing a note worth one-third of its duration beside it). The appearance of fourteenth-century motets both in the notation of the Roman de Fauvel and in the later...
Journal Article
Journal of Music Theory (2009) 53 (1): 1–56.
Published: 01 April 2009
... kinds of relations, placed into sets, arranged into geometric spaces, or acted upon with mathematical groups. This reification of a meter as an object or “state”—more precisely, as a set of hierarchically ordered durations or pulses—admittedly belies many of its primary characteristics...
Journal Article
Journal of Music Theory (2002) 46 (1-2): 127–151.
Published: 01 October 2002
... of space (for pitches) and time (for durations): “Pulsation is for striated time what temperament is for striated space; it has been shown that, depending on whether a partition is fixed or variable, defined space will be regular or irregular; similarly, that the pulsation of striated time...