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harmonic

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Journal Article
Journal of Music Theory (2016) 60 (2): 149–180.
Published: 01 October 2016
...Drew Nobile In this article, I advocate for a syntactical definition of harmonic function in rock music such that function is acquired not by a chord's scale-degree content but by its role in the context of a song's form. In rock songs, the syntactical role of dominant, for example, is often played...
Journal Article
Journal of Music Theory (2015) 59 (1): 121–181.
Published: 01 April 2015
...Jason Yust This article introduces a type of harmonic geometry, Fourier phase space, and uses it to advance the understanding of Schubert’s tonal language and comment upon current topics in Schubert analysis. The space derives from the discrete Fourier transform on pitch-class sets developed...
Journal Article
Journal of Music Theory (2002) 46 (1-2): 207–283.
Published: 01 October 2002
...Olli Väisälä PROLONGATION OF HARMONIES RELATED TO THE HARMONIC SERIES IN EARLY POST-TONAL MUSIC Olli Väisälä 1. Introduction In the history of music theory, the notion that a significant relationship exists between...
Journal Article
Journal of Music Theory (2006) 50 (2): 143–179.
Published: 01 October 2006
...Peter H. Smith Associative harmony functions as a powerful resource through which Schubert and Brahms fashion continuities within the dialectic of articulation and continuity that stands at the heart of the Viennese sonata style. More specifically, the technique of harmonic cross-reference provides...
Journal Article
Journal of Music Theory (2007) 51 (2): 277–332.
Published: 01 October 2007
...Clifton Callender This article generalizes Ian Quinn's recent harmonic characterization of pitch-class sets in equal tempered spaces to chords drawn from continuous pitch and pitch-class spaces. Using the Fourier transform, chords of any real-valued pitches or pitch classes are represented...
Journal Article
Journal of Music Theory (2011) 55 (1): 1–41.
Published: 01 April 2011
... are demonstrated by attributing the melodic and harmonic structures of complete pieces— Fratres, Passio , and The Beatitudes —to the interaction of a very small set of transformations. This representation reveals similarities of form as well as of process among them. It also shows how Pärt's signature harmonic...
Journal Article
Journal of Music Theory (2015) 59 (2): 273–320.
Published: 01 October 2015
...José Oliveira Martins The article proposes that a construct I call the Dasian space provides an effective framework to interpret harmonic aspects of scale relations in twentieth-century polymodality, particularly in the music of Bartók. Based on Bartók's intuition that the pitch space modeled after...
Journal Article
Journal of Music Theory (2016) 60 (2): 213–262.
Published: 01 October 2016
... proposes the use of phase spaces and Quinn's harmonic qualities in analysis of a wide variety of twentieth-century styles. The main focus is on how these ideas relate to scale-theoretic concepts and the repertoires to which they are applied, such as the music of Debussy, Satie, Stravinsky, Ravel...
Journal Article
Journal of Music Theory (2017) 61 (2): 143–170.
Published: 01 October 2017
...Trevor de Clercq In this article I present empirical work that investigates what, if any, harmonic characteristics are found to typically associate with standard form categories in rock music. Specifically, I use statistical analysis to compare and contrast the harmonic traits of verse, chorus...
Journal Article
Journal of Music Theory (2019) 63 (1): 1–34.
Published: 01 April 2019
...Brett Clement This article establishes an expanded theory of tonicization for harmonic progressions in rock music. While previous discussions of tonicization have largely focused on the role of the V chord, this theory allows for a much larger number of tonicizing chords, which may articulate...
Journal Article
Journal of Music Theory (2006) 50 (2): 253–275.
Published: 01 October 2006
...) poetical context. A range of late-eighteenth- and early-nineteenth-century thought on both sequential progression and harmonic analysis in general, by Emanuel Aloys Förster, Johann Philipp Kirnberger, and Gottfried Weber, among others, is assayed. Opportunities for chromaticism within the 5 and 6 phases...
Journal Article
Journal of Music Theory (2006) 50 (1): 77–101.
Published: 01 April 2006
... Fanny Mendelssohn Hensel's setting of Bach's “Das alte Jahr” in the concluding “Nachspiel” of her piano song cycle, Das Jahr , as suggesting interactions of public and private sonic worlds. I follow potential tonal-harmonic alternatives (after Schoenberg and Berg on the chorale) and implications...
Journal Article
Journal of Music Theory (2008) 52 (2): 219–249.
Published: 01 October 2008
...Justin Hoffman Recent music-theoretical research has proposed two ways of mapping the pitch-class set universe. Fourier spaces, constructed by Quinn, relate sets to one another based upon their composition from members of interval cycles, reflecting what might be called “harmonic quality.” Voice...
Journal Article
Journal of Music Theory (2008) 52 (2): 273–320.
Published: 01 October 2008
... of this article examines the Two Rhapsodies, op. 79. The unusual harmonic structure of the G-minor rhapsody is read in light of 1-cycles present within the opening tiered polyphony. In the B-minor rhapsody, the content of three concurrent cycles at the opening—a 4-cycle, 1-cycle, and 5/7-cycle—is respectively...
Journal Article
Journal of Music Theory (2013) 57 (2): 193–243.
Published: 01 October 2013
... scales from functional harmony. After defining “absolute color” in the context of Gluck’s orchestration, Ernst Kurth demonstrates how “absolute” wind instrument colors delineate “absolute” “destructive” harmonic colors in Wagner’s Tristan instrumentation. Finally, Arnold Schoenberg’s functional...
Journal Article
Journal of Music Theory (2015) 59 (1): 1–61.
Published: 01 April 2015
... schemas are defined in terms of characteristic melodic profiles, harmonic contexts, formal roles, and expressive associations. One representative schema, the “O cielo,” is used to demonstrate the musical features and range of variation characteristic of all recitative schemas. The formal associations...
Journal Article
Journal of Music Theory (2017) 61 (2): 201–242.
Published: 01 October 2017
... techniques, because they stem from a desire to emphasize and systematically realize the very harmonic elements and relationships that motivated their development. The article outlines a typology of methods of composing out that are central to Boulez’s compositional style in a broader sense. In this way...
Journal Article
Journal of Music Theory (2006) 50 (2): 211–251.
Published: 01 October 2006
... simultaneously as a local, harmonic event and as a global, formal event. On the local level, it may either prolong one harmony or progress from one to another. On the global level, it can serve a variety of formal functions: highlighting salient cadences; opening a space for virtuosic display; and developing...
Journal Article
Journal of Music Theory (2006) 50 (1): 65–76.
Published: 01 April 2006
..., as well as a cyclic harmonic plan that reflects the yearly cycle and the notion of spiritual transformation. © 2008 by Yale University 2008 Analysis Symposium “Das alte Jahr vergangen ist,” BWV 614 Of Time and Eternity Reflections on “Das...
Journal Article
Journal of Music Theory (2007) 51 (1): 5–49.
Published: 01 April 2007
... Rameau, he, too, developed an overarching explanatory model of harmony that involves coherent concepts of harmonic functionality and chord morphology. Heinichen's and Rameau's “systems,” however, rest on opposing assumptions. However many speculative aspects it may embrace, Heinichen's music theory...