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harmonic function

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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 (2): 273–320.
Published: 01 October 2015
..., harmonic functions, or pitch centricity. The Dasian space is a closed, nonoctave repeating scalar cycle, where each element is identified by a unique coordination of pitch class and modal quality. The dual description of each element enables both the specification of location in a given cycle and the...
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 (2019) 63 (1): 1–34.
Published: 01 April 2019
..., modality, chord succession, and harmonic function. In demonstrating these concepts, four categories of tonicization are illustrated: primary diatonic , in which a tonicization employs only diatonic chords of the mode; primary chromatic , which occurs due to chromatic inflection or modal borrowing...
Journal Article
Journal of Music Theory (2007) 51 (1): 5–49.
Published: 01 April 2007
.... Like 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...
Journal Article
Journal of Music Theory (2015) 59 (1): 121–181.
Published: 01 April 2015
... sets, have a specific harmonic function. . . . end of main theme pizz. Instead they are equally balanced between multiple opposing functions.arco In...
Journal Article
Journal of Music Theory (2002) 46 (1-2): 207–283.
Published: 01 October 2002
... function as arpeggiations. In the present study, this issue is relevant for the Webern analysis, in which whole steps are regarded vari- ably as harmonic or voice-leading intervals according to broader melodic context; melodic semitones are, however, always taken as voice-leading intervals. On the...
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 by their...
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 (2011) 55 (1): 1–41.
Published: 01 April 2011
... could represent the D harmonic minor collection. Step functions need not impose familiar scalar order. For instance, the cyclic operation (1, 9, 5, 2, 10, 7, 4) orders the pitch-class num- bers of S as if in a series of “diatonic descending thirds.” Changes...
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, and...
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 (2005) 49 (2): 333–357.
Published: 01 October 2005
..., pointing out Hancock’s compositional approaches and innovations against the backdrop of standard functional harmony and modal harmony. I address three general questions: (1) How is compositional structure created when harmonic function is weakened or absent? (2) How did Hancock further extend the...
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): 253–275.
Published: 01 October 2006
... indicate the evolved states of chords (e.g., Kirnberger’s A major) that possess dominant-like characteristics without relinquishing their roles within the original key. The internal 6-phase chords of an ascending 5–6 sequence, which lack a harmonic function, likewise often take on such...
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, and...
Journal Article
Journal of Music Theory (2006) 50 (1): 77–101.
Published: 01 April 2006
... and motivic through its dialogic relationship with melody and polyphonic tex- ture.9 Though distinct, the functional aspects of harmony and the referential aspects of melody thus actualize as constantly interactive. These exercises in studying the tonal-harmonic potentials of Bach’s cho...
Journal Article
Journal of Music Theory (2008) 52 (2): 273–320.
Published: 01 October 2008
.... Hancock, Virginia. 1983 . Brahms's Choral Compositions and his Library of Early Music . Ann Arbor: UMI Research Press. Harrison, Daniel. 1994 . Harmonic Function in Chromatic Music: A Renewed Dualist Theory and an Account of Its Precedents . Chicago: University of Chicago Press. ———. 2002...
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 of...
Journal Article
Journal of Music Theory (2006) 50 (1): 103–110.
Published: 01 April 2006
... structure and the factors that govern our perception of it. I begin by considering one of Bach's four-part harmonizations of the chorale and then turn to the chorale prelude itself. © 2008 by Yale University 2008 David Temperley is associate professor of theory at Eastman School of Music. His...