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fifth

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Journal Article
Journal of Music Theory (2009) 53 (2): 163–190.
Published: 01 October 2009
...Anna Gawboy The English concertina, invented by the physicist Charles Wheatstone, enjoyed a modest popularity as a parlor and concert instrument in Victorian Britain. Wheatstone designed several button layouts for the concertina consisting of pitch lattices of interlaced fifths and thirds, which he...
Journal Article
Journal of Music Theory (2008) 52 (1): 123–149.
Published: 01 April 2008
... appeared first in the eleventh century. Detailed analysis and comparison of the music (and theory) of Hermannus Contractus (1013-1054) with Hildegard's demonstrates a shared emphasis on Hermannus's modal nodes of final, fifth, and octave. Further analyses of antiphons from the later Middle Ages for Saints...
Journal Article
Journal of Music Theory (2012) 56 (2): 121–167.
Published: 01 October 2012
.... And fifth, it emerges from this inquiry that supposition is not solely a means of accounting for melodic suspensions; it is also an attempt to explain a number of idiomatic sonorities that are endemic to French baroque music, and to the grand motet in particular. In general, this article aims to provide...
Journal Article
Journal of Music Theory (2015) 59 (1): 121–181.
Published: 01 April 2015
... by David Lewin and Ian Quinn but uses primarily the phases of Fourier components, unlike Lewin and Quinn, who focus more on the magnitudes. The space defined by phases of the third and fifth components closely resembles the Tonnetz and has a similar common-tone basis to its topology but is continuous...
Journal Article
Journal of Music Theory (2017) 61 (1): 29–57.
Published: 01 April 2017
..., there are many examples where the prolonged chord differs from the one being arpeggiated. Many of these involve a downward arpeggiation of a triad from fifth to root that connects two different harmonies. This article examines the prolongational issues involved in this type of arpeggiation. The first section...
Journal Article
Journal of Music Theory (2019) 63 (2): 231–260.
Published: 01 October 2019
...Stephen Guerra Pitch spaces such as the circle of fifths model change through time in a composition, recording, or improvisation. Metric spaces theorized over the past twenty years do the same for changes (notated or not) in meter. Trajectories in either space and their potentially reinforcing...
Journal Article
Journal of Music Theory (2000) 44 (1): 100–126.
Published: 01 April 2000
..., since Hauptmann could not decide— or it did not occur to him—to look for his notions of octave-unity, fifth- disunity, and third-unification in temporal succession, without which a piece of music is inconceivable.3 Abstract concepts such as “key system” may still be defined through a complex...
Journal Article
Journal of Music Theory (2003) 47 (2): 225–272.
Published: 01 October 2003
...—root motion by descending fifth—a point of comparison whose significance will be assessed later on. But on a strikingly large number of counts, these two sequences are quite dissimilar. The passage at (a) is motivically concen- trated, dissonant by virtue of its constant sevenths, and, as a result...
Journal Article
Journal of Music Theory (2000) 44 (2): 323–379.
Published: 01 October 2000
... interpret the root, third, and fifth of the sounding harmony as most stable at a lower level while interpreting the first, third, and fifth degrees of the key as more sta- ble at a higher level. As a result, we experience the forces of tonal attrac- tion as fluctuating over the course of a work according...
Journal Article
Journal of Music Theory (2008) 52 (1): 13–40.
Published: 01 April 2008
... a fifth above or a fourth below them. 9  Appendix 2 shows the correspondence between the 11  Chartier has shown that a brief passage on modal ambi- Greek tetrachordal pitch names adopted by Hucbald and the tus printed in Gerbert 1784a, 116a, is a later interpolation, Latin letters...
Journal Article
Journal of Music Theory (2000) 44 (1): 81–99.
Published: 01 April 2000
... perfunctory in Riemann’s use of terms such as octave-unity (Octaveinheit), fifth- disunity (Quintentzweiung), and third-unification (Terzeinigung). This language fit him like an oversized glove from the beginning and limited his attempts to describe tonal relations with any real precision. It is no surprise...
Journal Article
Journal of Music Theory (2003) 47 (2): 305–323.
Published: 01 October 2003
... as the features of a style. The augmented-fifth chord may be a good case in point. As early as 1950, James Edward Richards (1950, 1:91) noted 305 that “the most shocking use of dissonance found in [Michel-Richard de Lalande’s] motets is the employment...
Journal Article
Journal of Music Theory (2003) 47 (2): 325–362.
Published: 01 October 2003
... Many fourteenth-century pieces end with the major- sixth-to-octave, major-third-to-fifth or minor-third-to-unison progres- sions illustrated in Example 2, which has led twentieth-century scholars to take these progressions as the norm by which all other cadences (inter- nal, sectional, or final...
Journal Article
Journal of Music Theory (2017) 61 (1): 111–140.
Published: 01 April 2017
... their tones in a row of alternating major and minor thirds.2 Triplets of tones form triads, and Hauptmann indicates the relations among the tonic, dominant, and subdominant triads. Uppercase pitches are related by just perfect fifths, while lowercase pitches...
Journal Article
Journal of Music Theory (2007) 51 (1): 5–49.
Published: 01 April 2007
... “a” in Example 1b) was assigned to a rising fifth with the figures 4–3 (Example 1, Ledbetter 1990, 12; Fenaroli 1978, bk. 3, 9). Likewise, one knew which upper voices corresponded to the clausula of the cadenza composta (slur “b” in Exam- ple 1b). One recognized...
Journal Article
Journal of Music Theory (1999) 43 (2): 283–314.
Published: 01 October 1999
... of the soprano suspension so that parallel perfect fifths are cre- ated between the upper voices in a kind of “planing” of parallel chords.3 Schenkerian analysis combines models of voice leading and harmonic function to explain the structure of pieces of tonal music. Example 2d shows how the foregoing...
Journal Article
Journal of Music Theory (2021) 65 (2): 239–285.
Published: 01 October 2021
... of the chromatic semitone C–C♯ shown in Example 4 a , which all feature the same progression of vertical dyads between the notes that form the chromatic semitone and the counterpointing notes in the bass: a perfect fifth moving to a major sixth. Assuming, moreover, that sixteenth-century polyphony is based...
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Journal Article
Journal of Music Theory (2020) 64 (2): 241–281.
Published: 01 October 2020
...) is a pitch class distinguished by a particular spelling, and it is situated on the line of fifths, as represented by an integer that counts distance from an origin in perfect-fifth units.7 Hook (2011: 85) defines three functions that translate an spc into a mod-12 pitch class, a mod-7 generic pitch class...
Journal Article
Journal of Music Theory (2004) 48 (2): 219–294.
Published: 01 October 2004
... to derive from diatonic tones: for example, in C major, the pitch class F≥ might be conceptual- ized variously as the fifth of B, the leading tone of G, or as an inflection of the more fundamental diatonic pitch class FΩ. By the start of the twen- tieth century, however, the diatonic scale...
Journal Article
Journal of Music Theory (2012) 56 (1): 1–52.
Published: 01 April 2012
... the structure so that maxi- mally consonant intervals—the perfect fifth and major third—corresponded to the graph’s edges. The Tonnetz’s second role, as a representation of single- step voice-leading relationships among major and minor triads, became important...