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harmonic rhythm

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Published: 01 October 2023
Example 1. Ma Rainey, “Sleep Talking Blues” (1928), exhibiting the conventional AAB poetic form, 5,5,5 phrase rhythm, call-and-response pattern, caesura placement, harmonic progression, and harmonic rhythm of the standard prewar blues. More
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Published: 01 October 2023
Example 2. Ruth Brown, “5-10-15 Hours” (1952, by Rudolph Toombs), exhibiting the conventional AAB poetic form, 5,5,5 phrase rhythm, call-and-response pattern, caesura placement, harmonic progression, and harmonic rhythm of the standard prewar blues. The recording conveys the more urbanized More
Journal Article
Journal of Music Theory (2023) 67 (2): 285–331.
Published: 01 October 2023
...Example 1. Ma Rainey, “Sleep Talking Blues” (1928), exhibiting the conventional AAB poetic form, 5,5,5 phrase rhythm, call-and-response pattern, caesura placement, harmonic progression, and harmonic rhythm of the standard prewar blues. ...
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Journal Article
Journal of Music Theory (2005) 49 (2): 277–299.
Published: 01 October 2005
... to the subdominant) at the “trio” What stride adds to ragtime •  Faster tempo and harmonic rhythm •  “Tricks” (flashy techniques) •  Non-doubled notes and occasional tenths in the bass •  Bluesier “crush” tones •  “Shouts” (shorter ideas probably derived from the ring-shout) •  More linear melodies...
Journal Article
Journal of Music Theory (2000) 44 (2): 261–322.
Published: 01 October 2000
.... Mozart’s underlying harmony for this phrase is a I – V pro- gression with an intermediate harmony of ii7 in mm. 2–3. The change from I to the ii7 occurs on the downbeat of m. 2, with the cadential V7 arriving on the downbeat of m. 4. The harmonic rhythm, which is a pow- erful meter-producing agent...
Journal Article
Journal of Music Theory (2017) 61 (1): 29–57.
Published: 01 April 2017
... on Sama­rotto cites figure 63.1 from Free Composition as an some level.” Similarly, Danuta Mirka (2009, 51) argues that example in which the metric scheme alone allows a change it is difficult to conceive of a metric grid out of phase with of harmony to be inferred. the harmonic rhythm...
Journal Article
Journal of Music Theory (2009) 53 (2): 305–328.
Published: 01 October 2009
.... If Mozart and Haydn really had these requirements in mind, one should find some correlation between them; that is, in 6/8, an acceleration in harmonic rhythm from one change per measure (reflecting simple 6/8) to two per measure (reflecting compound 6/8) should tend...
Journal Article
Journal of Music Theory (2021) 65 (2): 375–386.
Published: 01 October 2021
... approach to this repertoire (8–11). The next five chapters are each dedicated to one or two musical parameters: scales and key, harmony, rhythm and meter (including harmonic rhythm and hypermeter), melody (including some discussion of phrase and register), and timbre and instrumentation. The following...
Journal Article
Journal of Music Theory (2015) 59 (2): 235–271.
Published: 01 October 2015
... of the new style are direct- harmonic rhythm, now moving in semibreves and minims, ness, effectiveness, and refinement.” is more regular, and founded largely upon fundamental 10 Lowinsky draws the term clarification from Kerman bass movement in fourths or fifths...
Journal Article
Journal of Music Theory (2005) 49 (2): 301–332.
Published: 01 October 2005
... a stack of three fourths and leaving the downbeat C3 as a pedal throughout (fourths are an important motive in the melody, as well). Measures 9–10 314 are melodically and harmonically chromatic, accelerating the harmonic rhythm by a factor of eight. Taken by itself, the string of four chords...
Journal Article
Journal of Music Theory (2017) 61 (2): 143–170.
Published: 01 October 2017
... of the harmonic rhythm increases overall. That is another possible factor, which suggests another way of looking at the har- mony of song sections. Average chord durations The harmonic content of a passage can be quantified in terms of the per- centage of time spent on each chord, as considered above...
Journal Article
Journal of Music Theory (2005) 49 (2): 209–239.
Published: 01 October 2005
...                                                                              Example 4. Adderley, Jones, Hayes, and Timmons (rhythm only), chorus 5 218 in the manner of a pedal point and creates a certain harmonic expectancy, until the pedal is quitted in m. 5. Furthermore, Jones reacts very quickly to several harmonic implications...
Journal Article
Journal of Music Theory (2013) 57 (2): 419–431.
Published: 01 October 2013
... two measures of 2/4, and the song’s harmonic rhythm and lyrics proceed in nested segments of two, four, and eight measures. Accordingly, the authors focus on ways in which the batida rhythms mesh with each other and with the chord and text rhythms, especially...
Journal Article
Journal of Music Theory (2017) 61 (2): 201–242.
Published: 01 October 2017
... relationships, which slow the harmonic rhythm. Figure 15 from cahier D illustrates Boulez’s concern with emphasiz- ing literal common subset relationships through register and other precise structural/embellishing tone distinctions. The common tones G¯, B¯, and F comprise the main notes...
Journal Article
Journal of Music Theory (2017) 61 (2): 289–296.
Published: 01 October 2017
... other pieces in which the harmonic rhythm alternates long and short values in the same way. Modern theories have problems with this type of meter. Fred Lerdahl and Ray Jackendoff (1983, 68–74) insist on dividing time spans into equal units and therefore treat such rhythms as having three, rather...
Journal Article
Journal of Music Theory (2014) 58 (1): 1–24.
Published: 01 April 2014
... C for four measures, followed by four measures49 of the samex idea on F. x' The resulting deceleration of harmonic rhythm in this episode makes duple hypermeter...
Journal Article
Journal of Music Theory (2009) 53 (2): 191–226.
Published: 01 October 2009
... highlights voice exchanges that extend the downbeat harmonies of mm. 14 and 16 as long as possible. However, these pitch swaps are undermined by a conflict between harmonic rhythm and written meter as well as discrepancies...
Journal Article
Journal of Music Theory (2004) 48 (2): 325–336.
Published: 01 October 2004
... on the level higher than the size of melodic units. With eighteenth-century compositions, an important question arises con- cerning the articulation of Taktteile (beats) and Takte (downbeats). Some- times, if the harmonic rhythm of a piece is slower than one measure or faster than one beat, we may...
Journal Article
Journal of Music Theory (2003) 47 (1): 125–154.
Published: 01 April 2003
... the beginning or the end of m. 140 would be strongly contradicted by the harmony. The result of these conflicting segmentation cues is that the entire four-measure phrase 140 emerges a single indivisible unit. (The harmonic rhythm of the passage is also of interest. The move to B major on the downbeat...
Journal Article
Journal of Music Theory (2007) 51 (1): 51–83.
Published: 01 April 2007
... sound unconvincing is the sudden stop of the rhythmic activity in the second half of bars 9 and 10. Although the surface rhythm of this partimento often moves by eighth notes, the essential rhythmic pulse—the rate with which harmonic and voice-leading events change—moves by quarter notes...