... Interval Affect: The Musica Nova Madrigals and the Novel Theories of Zarlino and Vicentino Ashgate , 2010 : xiii + 318 pp. $119.95 cloth © 2012 by Yale University 2012 Works Cited Feldman Martha . 1995 . City Culture and the Madrigal at Venice . Berkeley : University of...

... equivalent to the other. Further examination of the ic-matrices in Figure 1 reveals important differences in the intervallic content of these pcsets, specifically as re- gards the cycles on which their intervals lie. For example, each member of ic4 in {0,1,2,4,7,8} exists between adjacencies in the...

... intervallic impressions between the lower strings and the violin part as a whole, a statistical ensemble whose normalized function is a good fit to the abstract interval function.11 IFUNC({C,D≤,F,G {B,D,G,E}) = (022111211122); the interval func- tion is “interval-complement symmetrical,” in the sense that...

...Michael Buchler 2001 © Yale University, New Haven, Connecticut 06520 2001 Buchler, Michael. 1997 . “ Broken and Unbroken Interval Cycles and Their Use in Determining Pitch-Class Set Resemblance .” Ph.D. diss., University of Rochester. ____. 2000 . “Relative Saturation of Subsets and...

...Dmitri Tymoczko Taking David Lewin's work as a point of departure, this essay uses geometry to reexamine familiar music-theoretical assumptions about intervals and transformations. Section 1 introduces the problem of “transportability,” noting that it is sometimes impossible to say whether two...

.... Pitch intervals are merely one manifestation of “intervallic experi- ence” in music. Intervals between pitches and intervals between the other entities that Lewin explores are various manifestations of the same general phenomenon...

...David Temperley A corpus analysis of common-practice themes shows that, when an intervallic pattern is repeated with one changed interval, the changed interval tends to be larger in the second instance of the pattern than in the first; the analysis also shows that the second instance of an...

... Sets.” Journal of Music Theory 35 : 93 -173. Lewin, David. 1959 . “Re: Intervallic Relations between Two Collections of Notes.” Journal of Music Theory 3 : 298 -301. ———. 2001 . “Special Cases of the Interval Function between Pitch-Class Sets X and Y.” Journal of Music Theory 45 : 1...

...- cal odd intervals 〈3–7–B〉. Elsewhere in the first movement of op. 3 . . . , the two cycles align differently, yielding vertical even intervals 〈0–4–8〉 and 〈2–6–A〉, in a varying of vertical intervallic content characteristic of Berg’s music” (empha...

...-Class Set Cartography: Relations between Voice-Leading Spaces and Fourier Spaces.” Journal of Music Theory 52 : 219 -49. Lewin, David. 1959 . “Re: Intervallic Relations between Two Collections of Notes.” Journal of Music Theory 3 : 298 -301. ———. 2001 . “Special Cases of the Interval...

... three categories of the texture based on degrees of metrical dissonance: weakly, moderately, and strictly tiered polyphony. The last form is special not only for its rarity but also for the extreme independence of its lines, which create supermetrical dissonance through pitch cells and/or pitch-interval...

...Robert Peck In Generalized Musical Intervals and Transformations (1987), David Lewin describes the structure of commuting groups for transformation groups that have simply transitive actions. We extend Lewin's notion to transformation groups that have any type of action, including merely transitive...

... perfect and imperfect interval, and their respective degrees of stability. I call these three categories perfect, mixed, and imperfect, respectively.25 Where most of my refine- ments lie, however, are within the subcategories of each group. After I discuss the intervallic...

... − 1, where n equals cardinality. This notation identifies pitches solely by their relative height, thereby eschewing any reference to specific interval size and effectively transforming pitches in pitch space into contour pitches in contour space. The variable end-point mechanism this procedure...

... geometry, the article develops a number of concepts for the analysis of chromatic harmony, including a geometric concept of interval as direction (intervallic axis), a novel approach to triadic voice leading (triadic orbits), and theories of tonal regions. I thank JMT ’s anonymous reviewers for...

...Jonathan De Souza This article develops a transformational approach to the fretboard, starting from the intersection of frets and strings. To overcome formal limitations of earlier models, it extends these two dimensions without limit and then defines varied intervals and transformations in...

...Brian Moseley In his late compositions Webern exhibited a predilection for many types of cyclic organization, involving intervals, motives, contours, and twelve-tone rows; in particular, cyclic row organization provided Webern a means of serial structure beyond the row. Much as the twelve-tone...

... spectra and located in a harmonic space of all possible chord spectra. Euclidean and angular distance metrics defined on chord spectra correlate strongly with common interval-based similarity measures such as IcVSIM and ANGLE. Thus, we can approximate these common measures of harmonic similarity in...

... sequence begins to repeat, found by summing its intervals mod 12—is 7 (4 + 3), the distance traversed by the “dominant transformation.” The 7, that is, corresponds to the ascending intervallic distance from tonic to dominant or the descending intervallic distance from tonic to subdominant. A...

... Collection of Notes, Intervallic Relations between a Collection of Notes and Its Complement: An Application to Schoenberg's Hexachordal Pieces.” Journal of Music Theory 4 / 1 : 98 – 101 . ———. 2001 . “Special Cases of the Interval Function between Pitch-Class Sets X and Y.” Journal of Music...