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Journal Article
Journal of Music Theory (2023) 67 (2): 348–355.
Published: 01 October 2023
...Daniel Villegas Vélez [email protected] Zachary Wallmark . Nothing but Noise: Timbre and Musical Meaning at the Edge . Oxford University Press , 2022 . Copyright © 2023 by Yale University 2023 zachary wallmark's nothing but Noise: Timbre and Musical Meaning...
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Published: 01 April 2023
Figure 12. Graph of Novara with edges representing instrumentation-based continuities between events on all pages.
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Published: 01 April 2023
Figure 6. Families of audio segments represented as directed edges in the Scambi compositional space. Orthogonal line segments form virtual edges that connect the two halves of the space.
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Published: 01 April 2023
Figure 13. Graph of Available Forms I with edges representing instrumentation-based continuities between events on all pages.
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Published: 01 April 2023
Figure 3. Graph of Intermission 6 based on the performance corpus. The thickness of each edge indicates the number of times a sequence occurred, and the size of each vertex indicates the number of edges directed toward it.
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Published: 01 April 2023
Figure 1. Graph of Intermission 6 . Each of the fifteen sounds is represented as a vertex, and the edges represent the possibility of playing the sounds in sequence.
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Published: 01 April 2023
Figure 16. A potential clique space for Novara . Vertices are labeled using the numbering scheme from Table 1 . Each edge represents the exchange of one constituent event for another.
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Journal Article
Journal of Music Theory (2023) 67 (1): 99–139.
Published: 01 April 2023
...Figure 12. Graph of Novara with edges representing instrumentation-based continuities between events on all pages. ...
FIGURES
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Journal Article
Journal of Music Theory (2002) 46 (1-2): 127–151.
Published: 01 October 2002
... figure (Hyer’s fig. 3, 119):
129
Figure 2. Hyer’s Tonnetz of P5, M3 and m3 cycles,
from Hyer 1995, figure 3, p. 119
Hyer notes that when one connects the edges in the manner shown in the
diagram, the result...
Journal Article
Journal of Music Theory (2012) 56 (1): 1–52.
Published: 01 April 2012
... is the
Tonnetz, where major and minor triads are triangles, and where parsimoni-
ous voice leadings are reflections (“flips”) preserving a triangle’s edge. In
chord-based graphs, by contrast, each point represents an entire sonority, and
efficient voice leading corresponds to short-distance motion...
Journal Article
Journal of Music Theory (2019) 63 (2): 167–207.
Published: 01 October 2019
... and C4. The space pitch is discrete, so it can be represented as a graph a mathematical structure consisting of discrete vertices connected by edges. Since each edge of this graph represents motion by single semitone, the fig- ure as a whole can be considered a rudimentary example of a discrete voice...
Journal Article
Journal of Music Theory (2008) 52 (2): 219–249.
Published: 01 October 2008
... to inversional equivalence)
trichord classes. Here, the edges of the triangle act as mirrors, off of which lines
connecting set-classes bounce. To construct Figure 1b, Callender, Quinn, and
Tymoczko glue together points that are equidistant from lines of inversionally
symmetric chords in the space...
Journal Article
Journal of Music Theory (2014) 58 (2): 179–233.
Published: 01 October 2014
... forms a vector that would be contained in
the comma lattice C), and it is maximal in this regard (i.e., if any tone is
added to the selection, it will form a comma vector with at least one of the
twelve tones). Any translation of the fundamental parallelogram, when its
edges do not contain tones...
Journal Article
Journal of Music Theory (2019) 63 (2): 231–260.
Published: 01 October 2019
... pulse cardinality. The vertices are the divisors of that unit cardinality, and the edges connect divi- sors x and y (x > y) if x = 2y or x = 3y. Each distinct minimal path that connects the unit pulse to the span pulse represents a distinct meter. In Figure 2, the unit cardinality 12 has three meters...
Journal Article
Journal of Music Theory (2000) 44 (2): 495–498.
Published: 01 October 2000
..., one of the
book’s strengths is its side-by-side inclusion of motivic, Schenkerian,
feminist, and cognitive approaches (to name just a few) within a single
volume.
Covach’s opening chapter, “Progressive Rock, ‘Close to the Edge,’
and the Boundaries of Style,” is an engaging analysis...
Journal Article
Journal of Music Theory (2006) 50 (1): 141.
Published: 01 April 2006
... in particular the younger
scholars who form the discipline’s leading edge.
A selection committee of four scholars unaffiliated with Yale or with
any of the eligible authors, chaired ex officio by the editor, will be appointed
at the close of each two-volume eligibility cycle (currently...
Journal Article
Journal of Music Theory (2007) 51 (1): 3–4.
Published: 01 April 2007
...Robert O. Gjerdingen 2007 2007 introduction
in the fall of 2007, at the edge of the Black Forest and nearly within sight
of the Alps, I met a group of scholars who shared my interest in partimenti. We
were in the old university town...
Journal Article
Journal of Music Theory (2007) 51 (2): 211–243.
Published: 01 October 2007
... levels related by
ratios of 2 and 3 in two-dimensional lattices, where vertices on a lattice rep-
resent pulses, edges sloping downward to the right show triple divisions, and
edges sloping downward to the left show duple ones. (Because we will be using...
Journal Article
Journal of Music Theory (2009) 53 (2): 227–254.
Published: 01 October 2009
... transported from point to point.
The answer is yes. Figure 3 shows a (continuous) two-dimensional space in
which points represent two-note chords; the space is a Möbius strip whose left
edge is “glued” to the right edge with a half twist that links...
Journal Article
Journal of Music Theory (2014) 58 (1): 79–101.
Published: 01 April 2014
... by integrating the four perfectly
even augmented triads as nodes but continuing to use single semitone dis-
placement as the edge. Four-Cube Trio’s edge is defined similarly: it joins the
twelve major-minor seventh chords and the twelve half-diminished seventh...
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