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Journal Article
Journal of Music Theory (2001) 45 (1): 1–29.
Published: 01 April 2001
... is helped by my hearing a “middleground” interval function as well in the passage, between {C,D≤,F,G≤} and {B,D,G,E}— or rather a statistical ensemble of intervallic impressions between the lower strings and the violin part as a whole, a statistical ensemble whose normalized function is a good fit...
Journal Article
Journal of Music Theory (2023) 67 (1): 1–70.
Published: 01 April 2023
... possibility native to other scale systems; approximate interval categories give us access to this possibility without requiring that we leave twelve-tone equal temperament. 10 For every chord size there are cyclic voicings that highlight particular intervallic qualities. These are the patterns...
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Journal Article
Journal of Music Theory (2011) 55 (2): 271–281.
Published: 01 October 2011
... of 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...
Journal Article
Journal of Music Theory (2002) 46 (1-2): 153–205.
Published: 01 October 2002
.... 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 (048) interval cycle...
Journal Article
Journal of Music Theory (2001) 45 (2): 263–343.
Published: 01 October 2001
...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...
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Published: 01 October 2021
Example 5. Classification of chromatic semitones based on interval of bass motion. More
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Published: 01 April 2023
Figure 1.2. Generated pentachords when the generating interval g is 2, 3.5, and 5. The first produces a close-position voicing, the second produces the voicing (2, 1, 1, 2), and the third produces the open-position voicing. More
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Published: 01 April 2023
Figure 2.1. Approximate interval categories and consonance. More
Journal Article
Journal of Music Theory (2006) 50 (1): 111–127.
Published: 01 April 2006
... not lessen its interpretive and methodological value. 122 Journal of Music Theory A. Pitch intervals are merely one manifestation of “intervallic experi- ence” in music. Intervals between pitches and intervals between the other...
Journal Article
Journal of Music Theory (2009) 53 (2): 227–254.
Published: 01 October 2009
... classes. Instead, we are free to make a wider range of choices about how to group particular motions into more general intervallic categories.27 This moral here is a general one: Intervals, conceived as categories of particular motions, are more flexible than Lewinian intervals...
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Published: 01 April 2022
Example 2. A realization of the “example” described by Ramos. As the intervals of the tenor (lower voice) increase in size, those of the added voice decrease. More
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Published: 01 April 2023
Figure 5.1. Generated tetrachords with generating intervals g  = 2 and 5. More
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Published: 01 April 2023
Figure 1.3. Cyclic voicings for chords of size 3–7, with generating intervals. C , T , and Q stand for the clustered, tertian, and quartal voicings. More
Journal Article
Journal of Music Theory (2014) 58 (2): 155–178.
Published: 01 October 2014
...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...
Journal Article
Journal of Music Theory (2008) 52 (2): 219–249.
Published: 01 October 2008
....” 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 -29...
Journal Article
Journal of Music Theory (2016) 60 (2): 181–212.
Published: 01 October 2016
.... To generate additional AC classes from our 〈1,20,30〉-cycle, we might rotate one of the interval cycles while keeping the other two fixed. Two condi- tions must be met to produce an exhaustive list of AC classes for any three- voice aligned cycle. First, the intervallic...
Journal Article
Journal of Music Theory (2008) 52 (2): 251–272.
Published: 01 October 2008
...-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...
Includes: Supplementary data
Journal Article
Journal of Music Theory (2007) 51 (2): 277–332.
Published: 01 October 2007
..., indicated by q 5 908 or π/2 radians, occurs precisely when two sets have no intervallic content in common.21 Scott and Isaacson’s (1998) ANGLE measures the angle between vectors in a six-dimensional interval-vector space, while Rogers’s (1999) cos Q mea...
Journal Article
Journal of Music Theory (2018) 62 (1): 1–39.
Published: 01 April 2018
...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...
Journal Article
Journal of Music Theory (2018) 62 (2): 165–204.
Published: 01 October 2018
...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...