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Journal of Music Theory (2018) 62 (2): 249–278.
Published: 01 October 2018
...Paul Steinbeck This article examines Anthony Braxton’s Composition 76 , a landmark work for three multi-instrumentalists. The score for Composition 76 employs graphic techniques (colors, shapes, and codes) as well as traditional notation on five-line staves. Original transcriptions of two studio...
The Masterwork in Music: A Yearbook , 3 Vols. Heinrich Schenker Edited by William Drabkin Translated by Ian Bent, Alfred Clayton, William Drabkin, Richard Kramer, Derrick Puffet, John Rothgeb, and Hedi Siegel Studies in Music Theory and Analysis Vols. 5, 8, and 10 Ian Bent, General Ed. New York: Cambridge University Press, 1994, 1996, 1997
Journal of Music Theory (2001) 45 (1): 162–169.
Published: 01 April 2001
... I-II (1925–26) and those in Volume III (1930), which anticipate the theoretical framework and graphic notation of Five Graphic Analyses (1932) and Free Compo- sition (1935). I shall brieﬂy sketch some of the differences between the earlier and later analyses. A speciﬁc feature...
Journal of Music Theory (2007) 51 (2): 333–340.
Published: 01 October 2007
... and theoretical investigation is “Ahkreanvention,” the compositional philosophy and graphic- notation system that AACM trumpeter Wadada Leo Smith developed for scoring improvisational performance in fundamental units of rhythm, sound, and silence...
Journal of Music Theory (2016) 60 (1): 23–50.
Published: 01 April 2016
... graphic notations of contour found in earlier studies by Arnold Schoenberg (1967), Ernst Toch ( 1977), Charles Seeger (1960), and Mieczyslaw Kolinski (1965), among others. First, Marvin (1995, 149–50) observes that “numerical representation . . . conveys at least as much information, is more...
Journal of Music Theory (2022) 66 (2): 291–302.
Published: 01 October 2022
... in piano preludes by Shostakovich and Hindemith. With linear reductions, and graphic notations for amplified-tonic colorations and fluctuation (in fig. 5.6, 146), these are revealing analyses. Shostakovich's irony pits a mock-solemn chorale against “imp”-like horn-fifth figures. Harrison's sensitivity...
Journal of Music Theory (1999) 43 (2): 359–371.
Published: 01 October 1999
... of what is, after all, a pioneering exposition rather than a summatory survey. As Hasty introduces his analytical notation, he ob- serves that “to the extent that my graphic representation implies an ex- tensive [as opposed to projective] hierarchy, it is a misrepresentation of 366 projection...
Journal of Music Theory (2020) 64 (2): 293–296.
Published: 01 October 2020
... of these two hypotheses is supported by des Murs s inclusion of a graphic representation of musical time in linear format in his treatise. However, no notational tree diagrams are drawn explicitly in Jacobus s Speculum musicae. Moreover, the tree diagram did not represent distinct species universally...
Journal of Music Theory (2021) 65 (1): 107–137.
Published: 01 April 2021
...-graphics: A Comparison of Dance Notation Systems from the Fifteenth Century to the Present . Amsterdam : Gordon and Breach . Hatten Robert S. 2002 . Review of Fantasy Pieces: Metrical Dissonance in the Music of Robert Schumann , by Krebs Harald . Music Theory Spectrum 24 , no. 2...
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Journal of Music Theory (1999) 43 (1): 21–82.
Published: 01 April 1999
... some different number of pcs, in some well-deﬁned tuning sys- tem.3 Concentrating on A12, we shall frequently represent its contents by the integers 0 through 11 (modulo 12).4 Using the standard notation of hexa- decimal (base-16) numbers, we represent the integer 10 by “A,” 11 by “B,” and 12...
Journal of Music Theory (2008) 52 (1): 13–40.
Published: 01 April 2008
... again) of the authentic protus formula closely links a symbolic notation that is difficult to grasp experientially with a known modal template. Unlike the Musica Enchiriadis daseian notation, Hucbald’s notational symbols do not graphically...
Journal of Music Theory (2011) 55 (1): 155–160.
Published: 01 April 2011
... are meticulous graphic analyses, with exhaustive textual commentary, of the Thelonious Monk composition “ ’Round Midnight” as played by its composer and by two other leading postwar American jazz pianists, Oscar Peterson and Bill Evans.2 Following...
Journal of Music Theory (2022) 66 (2): 303–314.
Published: 01 October 2022
... language R), and the graphical visualizations that are generated by these scripts. I possess only a passing familiarity with GitHub and an even less functional command of R, but I nonetheless found this resource easy enough to navigate through and to tinker with. Oxford University Press has also furnished...
Journal of Music Theory (2005) 49 (1): 1–43.
Published: 01 April 2005
... notehead. Inversions are extendable between each of the open noteheads and the solid notehead. To simplify the graphic field, only two of these inversions—one extending from the open square and another from the open triangle—are visually...
Journal of Music Theory (2016) 60 (1): 89–95.
Published: 01 April 2016
... can never become ‘science But Morgan cites Schenker’s “later stress on musical hierarchy, theoretical notation, and the empirical observation of actual music,” or “the theory’s reliance on logic and empirical verifiability” (43, 222). As for hierarchy...
Journal of Music Theory (2014) 58 (2): 179–233.
Published: 01 October 2014
.... Related notations appeared in analogous diagrams of such nineteenth-century writers as Carl Ernst Naumann, Arthur von Oettingen, and Hugo Riemann.12 The set of all points of the plane modeling the tones for a given interval lattice will be called a tone lattice...
Journal of Music Theory (2000) 44 (1): 45–79.
Published: 01 April 2000
... notation graphically represents the integrity of the voice parts rather than the sonority types, which she shows with letters). However, for three-part counterpoint she has developed a way of classifying sonorities as expansions of two-part sonorities which, though useful in describing the overall...
Journal of Music Theory (2000) 44 (1): 1–43.
Published: 01 April 2000
... section of a movement that com- bines aspects of binary and sonata form. Ex. 4 presents the entire A sec- tion along with a voice-leading graph. The extra line of notation above the graph highlights the persistence of B throughout the phrase. The graph interprets the Bs as neighbor notes...
Journal of Music Theory (2023) 67 (1): 99–139.
Published: 01 April 2023
... used to study the performance of music. Through case studies drawn from improvised and notated music, this article introduces the questions and methodologies by which analogous spaces for performance, which the author terms performance spaces , may be generated and analyzed. The author also considers...
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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 of Music Theory (2004) 48 (1): 69–98.
Published: 01 April 2004
... expresses the total ordered intervallic content of the motive from Ex. 2 in terms of a directed triangular shape. This tri- angle is useful explanatory device not only because it graphically com- 72 bines shapes with intervals, but also because it can be rotated in the manner shown in Examples 3b...