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Journal Article
Journal of Music Theory (2020) 64 (1): 137–143.
Published: 01 April 2020
...Alexander Rehding 137 Journal of Music Theory 64:1, April 2020 DOI 10.1215/00222909-8033469 © 2020 by Yale University Jonathan De Souza Music at Hand: Instruments, Bodies, and Cognition Oxford University Press, 2017: xi + 191 pp. ($44.95 cloth) Alexander Rehding Instrumentalists are cyborgs...
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Published: 01 October 2021
Figure 14. (a) The basic pattern of Drumming . (b) Spectra of the left-hand and right-hand rhythms and canons. More
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Published: 01 October 2023
Figure 3. Opening and closing chords in “Morze”: (a) pentatonic and diatonic segments in separate hands; (b) combined hands in opening and closing chords; (c) affinity space representation, A7: 3–3–1-cycle and the mapping of opening and closing chords. More
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Published: 01 April 2023
Figure 3.3. ( top ) Measure 4 of Ruth Crawford Seeger's Prelude no. 9 balances sevenths in the right hand against seconds in the left, their approximate complements. ( bottom ) Measure 13 juxtaposes sevenths and quintic chords in the right hand against quartal and quintic chords in the left. More
Journal Article
Journal of Music Theory (2011) 55 (2): 167–220.
Published: 01 October 2011
... Gottfried Herder’s rejection of Kant through Hegel, Friedrich Theodor and Robert Vischer, Karl Köstlin, and Johannes Volkelt. Eduard Hanslick, in arriving at his own destination, travels some distance on both paths, collecting along the way, on the one hand, Kant’s rigorous focus on the phenomenon...
Journal Article
Journal of Music Theory (2020) 64 (2): 147–201.
Published: 01 October 2020
...Megan Kaes Long At the beginning of the seventeenth century English composers used only a handful of keys: they combined five keynotes (G, A, C, D, and F) with the three signatures documented in English solmization theory (♮,♭, and♭♭). By the end of the century English theorists described eighteen...
Journal Article
Journal of Music Theory (2009) 53 (1): 137–162.
Published: 01 April 2009
...Joti Rockwell Drawing ideas from transformational theory and rhythm and meter theory, this study examines bluegrass banjo music in terms of rhythm and motions of the human hand. It begins by presenting a mathematical model of the five-string banjo characterizing the gestural permutations that give...
Journal Article
Journal of Music Theory (2010) 54 (1): 25–36.
Published: 01 April 2010
...—inevitably equivocal—is to be found not in the shopworn trope that imparts a sovereign irreversibility to the history of form or style, but in the historicality of subjectivity on one hand and of musical meaning on the other. Lawrence Kramer is professor of English and music at Fordham University...
Journal Article
Journal of Music Theory (2012) 56 (2): 121–167.
Published: 01 October 2012
...Nathan John Martin The precise sense of Jean Philippe Rameau’s conception of supposition is among the more vexing questions that his theorizing poses. Supposition has been interpreted, on the one hand, as an account of ninth and eleventh chords and, on the other, as a means of explaining melodic...
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 (2014) 58 (2): 179–233.
Published: 01 October 2014
... just-intonation systems. On the other hand, various families of generated tone systems based on subchromatic comma lattices provide relevant models of structures found in chromatic music. They include families of triads, seventh chords, and heptachords. Special attention is paid to three families...
Journal Article
Journal of Music Theory (2024) 68 (1): 35–58.
Published: 01 April 2024
... with the Madwoman, and diatonic (modulo-7) transposition when associating them with the rational, masculine characters of the story. Consequently, he forges familiar associations between chromaticism and madness, on the one hand, and diatonicism and rationality, on the other. Furthermore, Britten marks...
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Published: 01 October 2023
Figure 5. Harmonic space for “Rycerze,” Iłłakowicz Songs (chords 3–6, mm. 174–79): (a) superimposition of right- and left-hand hexachords; (b) chordal segments related by p ; (c) notes in different chords related by f . More
Journal Article
Journal of Music Theory (1999) 43 (1): 1–19.
Published: 01 April 1999
...; the sound of offstage brass playing forte may be a fainter signal than that of an onstage flute playing with less physical intensity, yet we can understand the former as strong action heard at a distance, and the latter as gentler action closer to hand. A particularly good example of this can be heard...
Journal Article
Journal of Music Theory (2009) 53 (2): 163–190.
Published: 01 October 2009
... also manufactured tenor and (a) (b) Figure 1.  Drawing of the treble English concertina from Wheatstone’s 1844 patent: (a) left-hand side; (b) right-hand side 1  The concertina belongs to the family...
Journal Article
Journal of Music Theory (2005) 49 (2): 277–299.
Published: 01 October 2005
... in that it is based on a strong one-bar thematic block. The immediate repetition allows John- son to work with complexities of rhythm and harmony. The disruption of the marchlike rhythm in the left hand, first heard in the strain’s third bar and then in the sixth, is called a “backbeat”5 or “change-step...
Journal Article
Journal of Music Theory (2015) 59 (2): 273–320.
Published: 01 October 2015
... reading but extend the♭ three contiguous Dorian-tetrachordal segments. Figure 4.1 is a pitch reduction for “Melody against Double Notes” (Mikrokosmos no. 70), which superimposes modally distinct scale segments in the left and right hands. Up to m. 16, both hands present (0257) tetrachords...
Journal Article
Journal of Music Theory (2000) 44 (1): 171–229.
Published: 01 April 2000
... are con- sidered as “Events” in additional hierarchical passes; and 5) “Interpret,” in which the results of the process are used by the analyst, with method or methods of his or her choosing. Note that the solitary box straddling the first and second sections on the right hand of the page (“Determine...
Journal Article
Journal of Music Theory (2020) 64 (2): 293–296.
Published: 01 October 2020
... to these questions, she claims, is contingent on the perspective of individual theorists. Jacobus, for example, viewed the ars nova as a threat and thus as a revolution. Des Murs, on the other hand, saw the move as a smooth transition and sought to identify similarities between his own work and that of the ancients...
Journal Article
Journal of Music Theory (2001) 45 (2): 435–456.
Published: 01 October 2001
... one of the two sound-generating bodies must be made of metal, wood, or leather. For this reason, I will call these three materials primary materials. In other words, metal, wood, and leather can interact with any material, including themselves. On the other hand, neither of the two remaining...