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Journal Article
Journal of Music Theory (1999) 43 (2): 193–230.
Published: 01 October 1999
...Brian Alegant This paper proposes a refinement of our understanding of pitch-class inversion in atonal and twelve-tone music. Part I of the essay establishes the theoretical foundation. It reviews the index number approach formulated by Milton Babbitt, examines characteristics of even and odd index...
Journal Article
Journal of Music Theory (2020) 64 (2): 203–240.
Published: 01 October 2020
... form even in the face of nineteenth-century innovations. Vande Moortele contrasts this “negative” approach to an as-yet-unrealized “positive” theory that would derive its concepts directly from nineteenth-century music. A multipart strategy interrogates the positive methodology championed by Vande...
Journal Article
Journal of Music Theory (2014) 58 (1): 25–56.
Published: 01 April 2014
...Peter H. Smith Commentators have traditionally judged Schumann’s sonata forms negatively, despite recent positive reassessments. In the response to Schumann’s expositions, even two of his most insightful advocates, Linda Correll Roesner and Anthony Newcomb, portray Schumann’s designs as...
Journal Article
Journal of Music Theory (2009) 53 (1): 57–94.
Published: 01 April 2009
... and dissonance are proposed, including a distinction between two types of intensification processes (graduated and terraced). Paderewski's performance practices are shown to greatly enhance (or even to introduce) intensification processes that span entire phrases or sections, and to highlight the...
Includes: Supplementary data
Journal Article
Journal of Music Theory (2019) 63 (2): 231–260.
Published: 01 October 2019
... conflicting relationships contribute to deeper interpretations of musical form. None of the metric spaces proposed to date is well suited to Afrodiasporic popular musics, which characteristically tend to pose regularly uneven metric foregrounds against rigid and recursively even metric backgrounds. This...
Journal Article
Journal of Music Theory (2012) 56 (1): 53–86.
Published: 01 April 2012
... and are believed to have been written consecutively, this article explores some possible motivations for Schubert’s removal of the C section from the first piano piece. In particular, the article suggests that, even though the first two pieces originally shared a similar tonal and formal plan...
Journal Article
Journal of Music Theory (2014) 58 (1): 1–24.
Published: 01 April 2014
... for keyboard. It turns out that the subject of this fugue is so marked in rhythm and contour that it seems to motivate—and even demand—its own transformation as the fugue unfolds. One consequence of such transformation is a series of metric shifts from triple hypermeter during expositions to duple...
Journal Article
Journal of Music Theory (2015) 59 (2): 191–234.
Published: 01 October 2015
... technique. Though a number of previous scholars have addressed this phenomenon, some of its crucial aspects are thus far underexplored or even unacknowledged. After reviewing several basic characteristics of Shostakovich's twelve-tone usage, this article expands and refines our understanding of his twelve...
Journal Article
Journal of Music Theory (2016) 60 (2): 97–148.
Published: 01 October 2016
... concerns how independent these two parameters are from one another: in different accounts they range from completely independent to strongly—even necessarily—correlated. This article argues that these two questions are not logically independent of each other, because a strong correlation between parameters...
Journal Article
Journal of Music Theory (2015) 59 (1): 99–119.
Published: 01 April 2015
... much as rhetoric aids music—perhaps even more so. Since Mersenne locates the commonality between music and rhetoric in the human body, his theory attempts to define a rhetoric of emotional persuasion, rather than one of stylistic surface. Emotional persuasion is effected through vocal inflections...
Journal Article
Journal of Music Theory (2016) 60 (2): 149–180.
Published: 01 October 2016
... by chords unrelated to V, such as IV, ii, ♭VII, or even versions of I. A theory of harmonic function rooted in chord category—e.g., ascribing dominant function to any chord related to V—inadequately accounts for rock's harmonic organization. I argue that syntactical elements underlie many existing...
Journal Article
Journal of Music Theory (2019) 63 (1): 103–138.
Published: 01 April 2019
... Hepokoski and Darcy’s sonata theory, Caplin’s theory of formal functions, and Schenkerian concepts of tonal content argue in favor of a type 2 interpretation of nineteenth-century manifestations. The analyses presented demonstrate some of the ways these theories may prove mutually reinforcing, even when...
Journal Article
Journal of Music Theory (2008) 52 (2): 219–249.
Published: 01 October 2008
... Figure 1a, which itself is constructed from points glued together in OP-equivalent trichordal space (a space that contains all of the transpositions and inversions of each of the trichord classes).4 As Callender, Quinn, and Tymoczko observe, and as Figure 1 suggests, the perfectly even set of...
Journal Article
Journal of Music Theory (2014) 58 (1): 79–101.
Published: 01 April 2014
... .” Journal of Music Theory 46 : 1 – 56 . Clough John Douthett Jack . 1991 . “ Maximally Even Sets .” Journal of Music Theory 35 : 93 – 173 . Cohn Richard . 1991 . “ Properties and Generability of Transpositionally Invariant Sets .” Journal of Music Theory 35 : 1 – 32...
Journal Article
Journal of Music Theory (2008) 52 (2): 251–272.
Published: 01 October 2008
... component is approximately inversely related to the size of the minimal voice leading to the nearest subset of any perfectly even n-note chord.3 For instance, a chord’s first Fourier component is approximately inversely related to the size of the minimal voice leading to any transposition of {0}; the...
Includes: Supplementary data
Journal Article
Journal of Music Theory (2012) 56 (1): 1–52.
Published: 01 April 2012
... . 2002 . “ Schubert, Theory, and Analysis .” Music Analysis 21/2 : 209 – 43 . Clough John Douthett Jack . 1991 . “ Maximally Even Sets .” Journal of Music Theory 35 : 93 – 173 . Clough John Myerson Gerald . 1985 . “ Variety and Multiplicity in Diatonic Systems...
Journal Article
Journal of Music Theory (2005) 49 (1): 45–108.
Published: 01 April 2005
..., John, and Jack Douthett. 1991 . “Maximally Even Sets.” Journal of Music Theory 35 : 93 –173. Cohn, Richard. 2003 . “A Tetrahedral Graph of Tetrachordal Voice-Leading Space.” Music Theory Online 9 / 4 . Guck, Marion. 1994 . “Analytical Fictions.” Music Theory Spectrum 16 : 217 –30...
Journal Article
Journal of Music Theory (2013) 57 (1): 159–191.
Published: 01 April 2013
..., counterpoint, scales, and centricity are all rich concepts whose meanings and correlations vary in different cultures, eras, styles, and even individual works. Yet he sees the repertoire as consistently exploiting certain underlying and interacting interrelationships among these features, which he...
Journal Article
Journal of Music Theory (2011) 55 (1): 155–160.
Published: 01 April 2011
... informa- tive, at times even revelatory. The latter may or may not be convinced but are in any case now greatly outnumbered by nontheorist jazz scholars who tend to celebrate the idiom’s distinguishing features more than its commonalities with the classical tradition. 1  For a comprehensive...
Journal Article
Journal of Music Theory (2001) 45 (1): 151–162.
Published: 01 April 2001
... d’Albert. Schenker’s Four Syrian Dances were performed (1904) in an orchestration by Schoenberg at an “orchestral evening” in Berlin, orga- nized by Busoni in cooperation with the Philharmonic (19, n. 37). Al- though he stopped composing around this time, and although there is scarcely any reference to...