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Journal Article
Journal of Music Theory (2008) 52 (1): 75–122.
Published: 01 April 2008
...-century troubadours and trouvères that delineate a “high style,” including chansons , and a “low style,” including dances and pastourelles . The dichotomy originated in the nineteenth century with Gaston Paris's concept of amour courtois , from which Roger Dragonetti later derived the term grand chant...
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in Investigating Music-Dance Relationships: A Case Study of Norwegian Telespringar
> Journal of Music Theory
Published: 01 April 2021
curves seem to follow a medium heavy-heavy-light pattern, whereas the acceleration amplitude of the fiddler's foot stamping follows a high-high-low pattern that accords with the strong-[strong/medium]-weak accent pattern previously observed in telespringar playing.
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Journal Article
Agency and Information Content in Eighteenth and Early Nineteenth-Century String-Quartet Expositions
Journal of Music Theory (2012) 56 (1): 87–120.
Published: 01 April 2012
...Ben Duane This article examines the phenomenon in which musical lines establish what Edward T. Cone calls virtual agents , making the argument that listeners are more likely to ascribe such agency to lines that have high information content (in the formal, information-theoretic sense). I use...
Journal Article
Journal of Music Theory (2014) 58 (2): 155–178.
Published: 01 October 2014
..., moderate level. The repetition of a pattern of intervals is (in some circumstances, at least) highly probable; in some cases, the information density of such repetitions may be undesirably low. The composer can balance this low information by injecting a high-information (i.e., low-probability) element...
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Published: 01 October 2023
” phrases (shown with a double asterisk). Row 6: All high points are in the C5 octave, high points higher in repetition are underlined. Row 7: Texture is in numbers of voices.
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in Flipped, Broken, and Paused Clave : Dancing through Metric Ambiguities in Salsa Music
> Journal of Music Theory
Published: 01 April 2021
Example 1. Formal sections of a salsa arrangement and their corresponding percussion complexes. This example combines information from Washburne 2008 : figures 6.1, 6.2, 6.3. In Washburne's notation, noteheads placed above and below the staff indicate an alternation of high- and low-pitched
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Journal Article
Journal of Music Theory (2021) 65 (1): 139–169.
Published: 01 April 2021
... defy neat categorization. 2 Choreomusical notation is designed to help readers feel in their own bodies the rhythms of the steps—in this case, the rhythms of weight transfers—so its symbols mirror the reader's orientation: left, right, high, and low. Steps taken on the left leg are notated...
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Journal Article
Journal of Music Theory (1999) 43 (1): 1–19.
Published: 01 April 1999
... in a pianissimo high
A as sung by a soprano, compared to the same note at the same dynamic
level produced as a natural harmonic on the cello, by recognizing the dif-
ferences of control and restraint needed to produce them. This issue ap-
plies readily to our understanding of familiar repertoire—any opera fan...
Journal Article
Journal of Music Theory (2023) 67 (2): 348–355.
Published: 01 October 2023
... and collaborated with the leading names in this new subdiscipline, arrives with high expectations. It meets them in both form and content, but also leaves open important questions that have the potential to shape the field in coming years. The introduction to Nothing but Noise is a helpful guide...
Journal Article
Journal of Music Theory (2023) 67 (2): 251–284.
Published: 01 October 2023
...” phrases (shown with a double asterisk). Row 6: All high points are in the C5 octave, high points higher in repetition are underlined. Row 7: Texture is in numbers of voices. ...
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Journal Article
Journal of Music Theory (2022) 66 (1): 1–42.
Published: 01 April 2022
... Zarlino calls melodia , begins as follows: Consonance . . . is a mixture of low and high sound that reaches our ears smoothly and uniformly; and it has the power to alter the sense [of hearing]. Or it is (as Aristotle defines it) a ratio of numbers in high and low [pitch]. From which definitions we can...
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Journal Article
Journal of Music Theory (2010) 54 (1): 37–60.
Published: 01 April 2010
... as a standard midcentury, T. S. Eliot–cum–Clement Greenberg
high-modernist line, in which each major modernist work forces a revalua-
tion of the entire tradition, and a necessary condition for artists to enter the
canon of “the genuine thing...
Journal Article
Journal of Music Theory (2007) 51 (2): 277–332.
Published: 01 October 2007
....) to cycles There of are, an however,integer number a number of semitones. of other peaks, Using located the intuitive at x = 2 and x = 3 that are
Since we are working in a continuous space, there is no need to limit5 our investigation5 to5
equallymethod high. outlined Since above, a 5...
Journal Article
Journal of Music Theory (2016) 60 (2): 213–262.
Published: 01 October 2016
... in coordination with other
harmonic qualities, consider Ruth Crawford Seeger’s “White Moon” (Sand-
burg Songs no. 2). In the opening piano part (Figure 6), Crawford Seeger
focuses on two harmonic qualities. She uses chromatic, high-f1 harmony for
its...
Journal Article
Journal of Music Theory (2021) 65 (1): 17–38.
Published: 01 April 2021
... curves seem to follow a medium heavy-heavy-light pattern, whereas the acceleration amplitude of the fiddler's foot stamping follows a high-high-low pattern that accords with the strong-[strong/medium]-weak accent pattern previously observed in telespringar playing. ...
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Journal Article
Journal of Music Theory (2003) 47 (1): 41–101.
Published: 01 April 2003
... phrase of the Menuetto,
and in a manner far from arbitrary. All occur as accented pitches in the
melody, providing the impetus and spice of the Menuetto theme (all are
marked with asterisks in the score): pcs 2 and 5, D and F, are accented
neighbor tones to E≤ in m. 1; pc 7 is the extremely high G...
Journal Article
Journal of Music Theory (1999) 43 (2): 193–230.
Published: 01 October 1999
... and high
piano, and the pcs of the middle and low piano sum to index number 11.
This (by definition) yields an Odd background. The first-species verticals
project set-classes 4–10[0235], 4–28[0369], 4–10, 4–1[0123], and 4–10;
these are charter members of the Odd inventory. The realization on the
right...
Journal Article
Journal of Music Theory (2013) 57 (1): 131–149.
Published: 01 April 2013
... the author presents six “criteria for analysis” that
encapsulate the salient, perceptible features of romantic music: topics (topoi),
the beginning-middle-ending paradigm, high points, periodicity, the three
modes of enunciation (speech, song, and dance...
Journal Article
Journal of Music Theory (2022) 66 (2): 223–253.
Published: 01 October 2022
... be centered on the pedal keyboard to perform the lowest staff, while the hands must each be high up (to the right) on the manuals to perform the upper two staffs (the lower of which presents its own logistical challenges in its dense chordal texture). 30 Hunt is not especially tall, so the physical...
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Journal Article
Journal of Music Theory (2024) 68 (1): 172–182.
Published: 01 April 2024
... of analyzing the AACM's music. Nor does he turn to high-flown critical theory to address thorny questions of race, representation, and the scholarly gaze. There are no citations of Hartman, Moten, Sharpe, Okiji, or even Baraka. 2 There is instead page after page of closely heard, lovingly detailed...
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