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Journal Article
Journal of Music Theory (2003) 47 (2): 305–323.
Published: 01 October 2003
...Jean-Paul C. Montagnier HEAVENLY DISSONANCES: THE CADENTIAL SIX-FOUR CHORD IN FRENCH GRANDS MOTETS AND RAMEAU’S THEORY OF THE ACCORD PAR SUPPOSITION Jean-Paul C. Montagnier By the 1620s, French musicians seem...
Journal Article
Journal of Music Theory (2006) 50 (1): 111–127.
Published: 01 April 2006
...Steven Rings David Lewin Generalized Musical Intervals and Transformations Oxford University Press, 2007: xxxi+258 pp. ($49.95 cloth); David Lewin Musical Form and Transformation: Four Analytic Essays Oxford University Press, 2007: xiv+168 pp. ($45.00 cloth); David Lewin Studies...
Image
Published: 01 April 2021
Example 5. Franco-Italian “four-cycle” counts. Tchaikovsky, Sleeping Beauty , prologue, no. 3 pas de six , variation 4, Canari qui chante , mm. 1–12. Example 5. Franco-Italian “four-cycle” counts. Tchaikovsky, Sleeping Beauty, prologue, no. 3 pas de six, variation 4, Canari qui chante, mm More
Journal Article
Journal of Music Theory (2009) 53 (1): 95–136.
Published: 01 April 2009
...Michael L. Klein This article discusses irony both as a narrative archetype in tonal music and as an interpretative strategy on the part of the listener. Beginning with a discussion of Northrop Frye's four narrative archetypes (romance, comedy, tragedy, irony), the article turns to a semiotic...
Journal Article
Journal of Music Theory (2021) 65 (1): 107–137.
Published: 01 April 2021
...Example 5. Franco-Italian “four-cycle” counts. Tchaikovsky, Sleeping Beauty , prologue, no. 3 pas de six , variation 4, Canari qui chante , mm. 1–12. Example 5. Franco-Italian “four-cycle” counts. Tchaikovsky, Sleeping Beauty, prologue, no. 3 pas de six, variation 4, Canari qui chante, mm...
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Journal Article
Journal of Music Theory (1999) 43 (2): 193–230.
Published: 01 October 1999
... to reduce polyphonic surfaces to note-against-note backgrounds and to evaluate the realizations of inversional designs. Part III generalizes the partitional model to enumerate and classify the distinct background structures for two-, three-, and four-voice inversional settings. WHEN EVEN BECOMES ODD...
Journal Article
Journal of Music Theory (2006) 50 (1): 103–110.
Published: 01 April 2006
... structure and the factors that govern our perception of it. I begin by considering one of Bach's four-part harmonizations of the chorale and then turn to the chorale prelude itself. David Temperley is associate professor of theory at Eastman School of Music. His book Music and Probability...
Journal Article
Journal of Music Theory (2009) 53 (2): 191–226.
Published: 01 October 2009
... cadential six-four chord. 2009 2009 Timothy Cutler is professor of music theory at the Cleveland Institute of Music. He is the creator of the Internet Music Theory Database ( www.musictheoryexamples.com ), a collection of roughly 1,500 categorized examples of tonal harmonic and contrapuntal...
Journal Article
Journal of Music Theory (2012) 56 (1): 1–52.
Published: 01 April 2012
...-leading structure—including a three-note octahedral Tonnetz and tetrahedral models of four-note diatonic and chromatic chords. Dmitri Tymoczko is a composer and music theorist who teaches at Princeton University. His book A Geometry of Music was published in 2011, and his album Beat Therapy...
Journal Article
Journal of Music Theory (2015) 59 (2): 191–234.
Published: 01 October 2015
...-tone melodies by situating them within the context of the broader concept of aggregate melodies. These melodies divide into four types, which are also relevant for music by other composers, and can be further described in terms of the relative tightness or looseness of their structural features...
Journal Article
Journal of Music Theory (2015) 59 (2): 235–271.
Published: 01 October 2015
... of Morley's balletts reveals four primary “Englishing” techniques. First, Morley establishes and confirms tonic more thoroughly than the Italians do. Second, the dominant chord plays a larger role in Morley's balletts, often yielding predictive statement-response phrase structures. Third, Morley uses pre...
Journal Article
Journal of Music Theory (2017) 61 (1): 111–140.
Published: 01 April 2017
... Teardrops” from the Five Songs, op. 16 (1916), the fourth of the Four Dirges (1910), and the Tenth Bagatelle (1908). Béla Bartók Moritz Hauptmann tonality key interval cycles Works Cited Babbitt Milton . 1949 . “The String Quartets of Bartók.” Musical Quarterly 35 / 3 : 377 – 85...
Journal Article
Journal of Music Theory (2018) 62 (2): 165–204.
Published: 01 October 2018
... principle produces an ordering of pitch classes that lies behind small formal units, cycles order the presentation of twelve-tone rows and give structure to large formal spans. The present study explores four cyclic organizational principles in works from the String Quartet, op. 28 (1938), to the Second...
Journal Article
Journal of Music Theory (2019) 63 (1): 1–34.
Published: 01 April 2019
..., modality, chord succession, and harmonic function. In demonstrating these concepts, four categories of tonicization are illustrated: primary diatonic , in which a tonicization employs only diatonic chords of the mode; primary chromatic , which occurs due to chromatic inflection or modal borrowing...
Journal Article
Journal of Music Theory (2020) 64 (1): 37–61.
Published: 01 April 2020
... of passages from Intermittences clarify the interaction of notational and registral silence in the work. A comparison of four recordings of Intermittences explores how performers realize the work’s notational silences as acoustic ones. 37 Journal of Music Theory 64:1, April 2020 DOI 10.1215/00222909-8033420 ©...
Journal Article
Journal of Music Theory (2020) 64 (2): 147–201.
Published: 01 October 2020
... keys—all of the modern major and minor keys with up to four signature accidentals. But the route from eight to eighteen keys was not straightforward. This article traces this route by examining how the function of signature flats and sharps changed in seventeenth-century England. At the beginning...
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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 (2013) 57 (1): 47–85.
Published: 01 April 2013
... an alternative to rule systems that is both rigorous and flexible. It is true that nature has particularly favored the four-measure rhythm, which is generally used more than the others; this is why it is able to blend so easily with other rhythms. —Anton Reicha, Treatise on Melody, 1814 this article...
Journal Article
Journal of Music Theory (2006) 50 (1): 65–76.
Published: 01 April 2006
... to the future, call upon God’s guidance in the right way, and indeed point to the consummation at the end of time. Only in stanza four is there a brief reversion to regret for things past. The melody and tonality of “Das alte Jahr” are among the most curious in the chorale repertoire. Beginning...
Journal Article
Journal of Music Theory (2003) 47 (1): 41–101.
Published: 01 April 2003
... and complex. Phrase 1 presents a simple situation: four two-measure segments, each separated by silence, with homophonic texture basically in quarter notes. The segments are alter- nately loud and soft. The first four measures of phrase 2 proceed in the same fashion. Then, in the latter half of the phrase...