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in Approximate Set Theory: Chord Categories, Voicings, and Interval Cycles
> Journal of Music Theory
Published: 01 April 2023
Figure 5.3A. A transformational graph relating voicings of ABCE. Boldface shows the gapped clustered, gapped tertian, and gapped quartal voicings.
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in Approximate Set Theory: Chord Categories, Voicings, and Interval Cycles
> Journal of Music Theory
Published: 01 April 2023
Figure 5.3B. A transformational graph relating voicings of ACDE. Boldface shows the gapped clustered, gapped tertian, and gapped quartal voicings.
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in Approximate Set Theory: Chord Categories, Voicings, and Interval Cycles
> Journal of Music Theory
Published: 01 April 2023
Figure 6.1A. A transformational graph relating pentachordal voicings. Moving along the pentagon transposes along the chord; moving between pentagons relates voicings by octave displacement.
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in Approximate Set Theory: Chord Categories, Voicings, and Interval Cycles
> Journal of Music Theory
Published: 01 April 2023
Figure 6.1B. A transformational graph relating pentachordal voicings, using different octave displacements.
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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 2. Graph of Sabine Liebner's performance of Intermission 6 .
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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 4. Bar graph depicting the prevalence of each sound in the performance corpus. The uniform distribution is given by the dashed horizontal line.
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Published: 01 April 2023
Figure 10. Page 1 of Novara as an instrumentation-based graph. The instrumentation for each event is listed next to the corresponding vertex.
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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 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 14. Directed graph of Available Forms I illustrating instrumentation-based continuities and notated linearities between events.
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Published: 01 April 2023
Example 4. Score and graph of New Piece by Earle Brown. Copyright © 1971 by Henry Litolff's Verlag. Permission by C. F. Peters Corporation. All rights reserved.
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Published: 01 April 2023
Figure 15. Simplified graph of Novara . All events sharing the same instrumentation are represented by a single vertex. All triangles between vertices represent cliques.
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Published: 01 April 2023
Figure 11. Graphs of each of the four pages of Novara based on instrumentation.
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Journal Article
Journal of Music Theory (2012) 56 (1): 1–52.
Published: 01 April 2012
...Dmitri Tymoczko This article relates two categories of music-theoretical graphs, in which points represent notes and chords, respectively. It unifies previous work by Brower, Callender, Cohn, Douthett, Gollin, O’Connell, Quinn, Steinbach, and myself, while also introducing new models of voice...
Journal Article
Journal of Music Theory (2019) 63 (2): 167–207.
Published: 01 October 2019
... -, and OP -spaces of two- and three-note chords. The final section of the study shows that, although the discrete mod-7 versions of these lattices appear quite different from their continuous mod-12 counterparts, the topological space underlying each of these graphs depends solely on the number of notes...
Journal Article
Journal of Music Theory (2023) 67 (2): 209–249.
Published: 01 October 2023
... graphs and transpositional networks, prompting a novel understanding between twelve-tone chordal harmony and form. The study proposes to contribute to the analytical reappraisal of a set of pieces that anchor an influential harmonic practice in twentieth- and twenty-first-century music. jmartins...
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Journal Article
Journal of Music Theory (2009) 53 (1): 1–56.
Published: 01 April 2009
...Scott Murphy The metric cube is a kind of graph of meters proposed as a complement to the types of metric spaces that have already been put forth in music-theoretic scholarship, particularly by Richard Cohn. Whereas Cohn's most recent kind of metric space (2001) can compare meters only...
Journal Article
Journal of Music Theory (2023) 67 (1): 99–139.
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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