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Journal Article
Journal of Music Theory (2010) 54 (2): 143–177.
Published: 01 October 2010
...Robert Peck In Generalized Musical Intervals and Transformations (1987), David Lewin describes the structure of commuting groups for transformation groups that have simply transitive actions. We extend Lewin's notion to transformation groups that have any type of action, including merely transitive...
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Published: 01 April 2021
Image 4. Meter and grouping in the grand square: (a) beginning-accented groups and (b) endaccented groups. More
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Published: 01 April 2021
Figure 2. Choreomusical and choreographic grouping dissonances (1 = eighth note). More
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Published: 01 April 2021
Figure 3. Musical, choreomusical, and choreographic grouping dissonances (1 = eighth note). More
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Published: 01 April 2021
Example 5. Navigating grouping dissonance in the introduction of Grupo Niche's “Cali pachanguero” (transcription from Simpson-Litke 2014 ). More
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Published: 01 October 2022
Example 1. Duple and triple accent groupings in an excerpt from The Roots featuring Dice Raw, “Lighthouse” (2011, 2:20–2:27), emceed by Black Thought (Ohriner's example 3.14b, 63). More
Journal Article
Journal of Music Theory (2015) 59 (2): 273–320.
Published: 01 October 2015
... and the emergence of a group structure, whose generators—named transpositio and transformatio —are also characteristic musical motions and relations. The proposed analytical methodology is probed in a couple of short pieces of Bartók's Mikrokosmos and in the third movement of his Piano Sonata. The article argues...
Journal Article
Journal of Music Theory (2008) 52 (1): 41–74.
Published: 01 April 2008
...Cristle Collins Judd This article takes Thomas Morley's A Plaine and Easie Introduction to Practicall Musicke (1597) as a point of departure for exploring a group of sixteenth-century texts that place music, especially as represented by musical notation, within the form of a dialogue. Music...
Journal Article
Journal of Music Theory (2018) 62 (2): 205–248.
Published: 01 October 2018
... that we today understand as grouping, chunking, and subjective rhythmicization. In the absence of anything resembling a modern theory of cognition, Holden’s account of how we can perceive music chiefly relies on the actions of posited mental faculties, including attention, memory, imagination...
Journal Article
Journal of Music Theory (2009) 53 (2): 227–254.
Published: 01 October 2009
... in pitch-class space , a more fine-grained alternative that specifies how one pitch class moves to another. Section 3 argues that group theory alone cannot represent the intuition that intervals have quantifiable sizes, proposing an extension to Lewin's formalism that accomplishes this goal. Finally...
Journal Article
Journal of Music Theory (2009) 53 (2): 255–304.
Published: 01 October 2009
... represent the phenomena that, to my own—and, I believe, many other modern listeners'—ears, gave chromatic music its unique sound. Both groups of theories missed the mark by treating all chromatic events in this repertoire equally. This article therefore begins by suggesting that, just as in tonal music...
Journal Article
Journal of Music Theory (2010) 54 (1): 1–4.
Published: 01 April 2010
... are quickly introduced and loosely organized in groups for the benefit of the reader. Brian Kane is assistant professor of music at Yale University. Yale University 2010 This content is made freely available by the publisher. It may not be redistributed or altered. All rights reserved...
Journal Article
Journal of Music Theory (2013) 57 (1): 47–85.
Published: 01 April 2013
...John Paul Ito This article extends existing approaches to hypermeter by introducing schemas that make measure-by-measure correlations between grouping units and hypermeasures. These schemas offer an account of how listeners track hypermeter through irregularities and discontinuities. In order...
Journal Article
Journal of Music Theory (2015) 59 (1): 1–61.
Published: 01 April 2015
... of the schemas allow us to describe the basic phrase syntax of recitative, grouping the schemas into three broad formal roles: initiatory, medial, and closing. Appendix 2 demonstrates this formal model by analyzing the dramatic climax of Leonardo Vinci and Pietro Metastasio’s opera Artaserse (1730). Additionally...
Journal Article
Journal of Music Theory (1999) 43 (2): 231–255.
Published: 01 October 1999
...Edward Pearsall Among current theories of cognition, Gerald Edelman's Theory of Neuronal Group Selection is one of the most successful in showing how the mind is grounded in neurobiological activity. Edelman brings together ideas concerning the selective adaptability of the brain and the interplay...
Journal Article
Journal of Music Theory (2008) 52 (1): 75–122.
Published: 01 April 2008
... courtois , now a common label for “high-style” songs. Other literary scholars, notably Paul Zumthor and Pierre Bec, have discussed problems in classifying styles and genres. References to genres in medieval texts are ambiguous, and manuscripts rarely group songs by genre. Theorists such as Raimon Vidal...
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 (2021) 65 (1): 39–80.
Published: 01 April 2021
...Example 5. Navigating grouping dissonance in the introduction of Grupo Niche's “Cali pachanguero” (transcription from Simpson-Litke 2014 ). ...
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Published: 01 April 2021
Example 1b. Choreographic 3-layer and 4-layer against the music's 2- and 6-layers (1 = eighth, 3/4 meter). The final dance count in each group (“3” or “4”) is marked choreographically (see Video 1 ). J. S. Bach, BWV 1043, mvt. 3, mm. 131–34. More
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Published: 01 October 2023
Example 31. Willie Dixon, “300 Pounds of Joy” (1963), sung by Howlin' Wolf. Variant fusing elements of the “Caldonia” type (entire couplet in bars 1–4) and the standard form (an instrumental response follows each line). The first eight bars inflate to sixteen metric positions per four-bar group More