Skip Nav Destination
Close Modal
1-20 of 460 Search Results for
figure
Follow your search
Access your saved searches in your account
Would you like to receive an alert when new items match your search?
1
Image
in Periodicity-Based Descriptions of Rhythms and Steve Reich's Rhythmic Style
> Journal of Music Theory
Published: 01 October 2021
Image
in Periodicity-Based Descriptions of Rhythms and Steve Reich's Rhythmic Style
> Journal of Music Theory
Published: 01 October 2021
Figure 12. (a) The spectrum of the basic rhythm of Phase Patterns (see Figure 10). (b) The phase space for coefficient 3 and different rotations of the rhythm in this space.
More
Image
in Periodicity-Based Descriptions of Rhythms and Steve Reich's Rhythmic Style
> Journal of Music Theory
Published: 01 October 2021
Image
in Flipped, Broken, and Paused Clave : Dancing through Metric Ambiguities in Salsa Music
> Journal of Music Theory
Published: 01 April 2021
Example 6. Washburne's ( 2008 : figure 6.7) transcription of the vocal interlude from Grupo Niche's “Cali pachanguero.”
More
Image
Published: 01 April 2024
Image
in Music in the Body: The Eighteenth-Century Contredanse and Hypermetrical Hearing
> Journal of Music Theory
Published: 01 April 2021
Image 11. Diagrams of the last two figures of “Les spectacles.”
More
Image
in Periodicity-Based Descriptions of Rhythms and Steve Reich's Rhythmic Style
> Journal of Music Theory
Published: 01 October 2021
Figure 5. (a) The full spectrum of Reich's signature rhythm (Figures 1 and 4a). (b–c) The abbreviated spectrum of Reich's signature rhythm compared to those of Figure 4 , b and c .
More
Journal Article
Journal of Music Theory (2013) 57 (2): 287–320.
Published: 01 October 2013
...Allan Keiler Jean-Philippe Rameau’s understanding of harmony comes to us in the form of a theory that presents many interpretive difficulties. What writers of figured bass manuals were trying to achieve, on the other hand, is often more accessible, though as they go about their practical concerns...
Journal Article
Journal of Music Theory (2006) 50 (1): 77–101.
Published: 01 April 2006
... of interactions of prolongational, associative, or stretto-like musical figurations in the prelude. These “differences” in orientation become creative and expressive of newly available content, multiplying interactions of composition and text, reception and analysis. © 2008 by Yale University 2008...
Journal Article
Journal of Music Theory (2008) 52 (1): 41–74.
Published: 01 April 2008
... and musical writings have barely figured in the study of the Renaissance dialogue, yet these works offer specific insights about the nature of the genre. In addition to Morley's treatise, works discussed in detail include Anton Francesco Doni's Dialogo della musica (1544), Gioseffo Zarlino's Dimostrationi...
Journal Article
Journal of Music Theory (2008) 52 (2): 273–320.
Published: 01 October 2008
... cycles. Strictly tiered polyphony figures prominently in Brahms's piano music, where it lends passages an aura of extreme drive and inexorability. Importantly, awareness of this texture can provide insights into Brahms's works unavailable through conventional approaches. The analytical portion...
Journal Article
Journal of Music Theory (2010) 54 (1): 1–4.
Published: 01 April 2010
..., intersubjective acknowledgment, and personal responsibility over one's critical language are introduced as central themes. One of Cavell's “scenes” involves David Lewin, and the friendship of these two figures is subsequently discussed. Lastly, these themes are related to the various articles in the issue, which...
Journal Article
Journal of Music Theory (2008) 52 (2): 181–218.
Published: 01 October 2008
...Roman Ivanovitch The article examines a group of closing gestures in Mozart's piano concertos, passages of soloistic virtuosity just before the last tuttis of the exposition and recapitulation. Serving as grand cadential clinchers and clothed in conventional figuration, these spots—sometimes called...
Journal Article
Journal of Music Theory (2005) 49 (1): 1–43.
Published: 01 April 2005
... distinguishes itself from earlier
3
Figure 1. K-nets, mm. 1–5
4
analyses of the work by Gingerich (1996) and Forte (1998). The former
studies the melodic presence of the well-known BACH motive (under a
number...
Journal Article
Journal of Music Theory (2019) 63 (2): 167–207.
Published: 01 October 2019
... space can be imagined as a number line (Figure 1). The discrete version (pitch) contains elements that correspond to infinitely many note names, or keys on an imaginary piano that spans an infinitude of octaves.3 As is conventional in set theory, pitch space assumes enharmonic equivalence. Continuous...
Journal Article
Journal of Music Theory (2020) 64 (1): 63–103.
Published: 01 April 2020
..., generic, diatonic, Tonnetz I. Introduction to generic sequences the chord progression in Figure 1 is a sequence in the usual music-theoretic sense of the term: a pattern that repeats at a series of different pitch levels. The sequence is generic in its lack of accidentals: its notes may be considered...
Journal Article
Journal of Music Theory (2021) 65 (2): 325–374.
Published: 01 October 2021
...Figure 6. The rhythms of Figure 4 in the Cartesian space for the half-note periodicity. ...
FIGURES
| View All (38)
Journal Article
Journal of Music Theory (2012) 56 (1): 1–52.
Published: 01 April 2012
... in the space,
typically along an edge of a lattice. This difference is illustrated in Figure 1,
which offers two perspectives on the same set of musical possibilities: on the
top, we have the traditional note-based Tonnetz, while on the bottom we have
Jack Douthett and Peter Steinbach’s (1998) chord...
Journal Article
Journal of Music Theory (2017) 61 (2): 201–242.
Published: 01 October 2017
... . “ Moments doubles, figurés en prisme .” In Pierre Boulez: Techniques d’écriture et enjeux esthétiques , ed. Decroupet Pascal Leleu Jean-Louis , 133 – 57 . Geneva : Contrechamps . Decroupet Pascal . 2012 . “ Le role des clés et algorithmes dans le décryptage analytique: L’exemple des...
Journal Article
Journal of Music Theory (2008) 52 (2): 219–249.
Published: 01 October 2008
.... As an illustration of the way in which Callender, Quinn, and Tymoczko
construct voice-leading spaces, consider Figure 1. Figure 1a is a cone represent-
ing voice leadings between transpositionally equivalent trichord classes or, in
Callender, Quinn, and Tymoczko’s terminology, OPT-equivalent (for octave...
1
