1-20 of 154 Search Results for

label

Follow your search
Access your saved searches in your account

Would you like to receive an alert when new items match your search?
Close Modal
Sort by
Image
Published: 01 October 2021
Example 28. Labeling chromatic semitones in the bass (iii) when the second note of the chromatic semitone thwarts a leading tone. Example 28. Labeling chromatic semitones in the bass (iii) when the second note of the chromatic semitone thwarts a leading tone. More
Image
Published: 01 October 2021
Example 26. Labeling chromatic semitones in the bass (i) when one or both notes of the chromatic semitone are overdetermined leading tones. Example 26. Labeling chromatic semitones in the bass (i) when one or both notes of the chromatic semitone are overdetermined leading tones. More
Image
Published: 01 October 2021
Example 27. Labeling chromatic semitones in the bass (ii) when a note of a chromatic semitone supports two leading tones in the upper voices. Example 27. Labeling chromatic semitones in the bass (ii) when a note of a chromatic semitone supports two leading tones in the upper voices. More
Image
Published: 01 April 2022
Example 2. The sixteen melodies of Quinn’s melody family, labeled “M,” from Steve Reich’s Desert Music, iii (Quinn 1997 : 234). More
Journal Article
Journal of Music Theory (2008) 52 (1): 75–122.
Published: 01 April 2008
... courtois , now a common label for “high-style” songs. Other literary scholars, notably Paul Zumthor and Pierre Bec, have discussed problems in classifying styles and genres. References to genres in medieval texts are ambiguous, and manuscripts rarely group songs by genre. Theorists such as Raimon Vidal...
Journal Article
Journal of Music Theory (2016) 60 (1): 23–50.
Published: 01 April 2016
... disposition of certain members of a given cseg yet remains perfectly true to that of others. This article addresses the analytical pitfalls of the integer-based contour labeling system by instead adopting a normalized scheme that maps pitches onto evenly distributed subsets of the real numbers from 0 to 1...
Journal Article
Journal of Music Theory (2005) 49 (1): 1–43.
Published: 01 April 2005
... of a quarter note. The example partitions the music in the first five measures into eight collections, labeled J1 through J8 for reference. In each collection, a trichord and a single pitch are orchestrationally opposed: where the voice presents a three-note succes- sion, the bass clarinet...
Journal Article
Journal of Music Theory (2017) 61 (2): 143–170.
Published: 01 October 2017
... of standard sec- tion labels, such as verse, chorus, and bridge. The common currency of a shared set of form labels has been of great benefit to analysts, as it allows us to show similarities and connections among song forms across relatively dis- parate musical styles.2 1 I use the term rock...
Journal Article
Journal of Music Theory (2022) 66 (1): 135–145.
Published: 01 April 2022
..., in the specific form of subscripted transpositions ( T 1 , T –2 ) labeling arrows connecting musical events. (Lehman's boldface sets into relief transformational abbreviations.) (4) In showing how a stepwise modulation shifts mood, it introduces the connection between structure and affect. (5) It demonstrates...
FIGURES
Journal Article
Journal of Music Theory (2019) 63 (2): 167–207.
Published: 01 October 2019
... while the interval group of continuous pitch space is the real numbers 4 In Figure 1 the pitches labeled 0.5 and 5.5 exist in cpitch but not in pitch. Each represents a pitch halfway between two integer-valued pitches. For instance, the pitch 0.5 lies between B3 and C4. The space pitch is discrete, so...
Journal Article
Journal of Music Theory (2004) 48 (1): 1–24.
Published: 01 April 2004
...].3 The opening ATH member {9AB145} is labeled T0(Z); the remaining ATH members, which complete the aggregate in tandem with T0(Z), are labeled T0K(Z), T6(Z), and T6K(Z). K is a con- textual inversion4 that maps a given ATH member Z to the unique ATH...
Journal Article
Journal of Music Theory (2021) 65 (2): 239–285.
Published: 01 October 2021
...Example 28. Labeling chromatic semitones in the bass (iii) when the second note of the chromatic semitone thwarts a leading tone. Example 28. Labeling chromatic semitones in the bass (iii) when the second note of the chromatic semitone thwarts a leading tone. ...
FIGURES | View All (59)
Journal Article
Journal of Music Theory (1999) 43 (1): 21–82.
Published: 01 April 1999
... in Schoenberg's Twelve-Tone Rhetoric.” Ph.D. dissertation, Harvard University. Kurth, Richard. 1996 . “Dis-Regarding Schoenberg's Twelve-Tone Rows: An Alternative Approach to Listening and Analysis for Twelve-Tone Music.” Theory and Practice 21 : 79 -122. Lewin, David. 1977 . “A Label-Free...
Journal Article
Journal of Music Theory (2005) 49 (2): 333–357.
Published: 01 October 2005
... national prominence as a member of the Miles Davis Quintet, playing piano with Davis between 1963 and 1968. With his ten- ure with Davis, his recordings as a sideman on numerous albums, and his own series of albums for the Blue Note label under his own name, Han- cock was considered one of the most...
Journal Article
Journal of Music Theory (2021) 65 (2): 375–386.
Published: 01 October 2021
... useful to include more transcriptions of the complete musical texture—or at least some drum and bass parts, especially in chapter 4, on rhythm and meter. More detailed chord labels would also have been helpful: in many cases chord extensions are reduced to triadic labels, which do not accurately reflect...
Journal Article
Journal of Music Theory (2019) 63 (2): 261–267.
Published: 01 October 2019
... for the ante- penultimate position (the pre-pretonic), and so on. But the strength of this theory is not in the details of the lists or labels but in its emphasis on syntacti- cal position over chordal quality or root. The differentiation, if not the labels themselves, soon becomes useful in closely comparing...
Journal Article
Journal of Music Theory (2017) 61 (2): 201–242.
Published: 01 October 2017
... transcriptions of sketch excerpts, with added annotations to demonstrate my points. Overview of Domaines The first version of Domaines, for clarinet solo, consists of six fragments, labeled cahier original, and their retrogrades, each labeled cahier miroir...
Journal Article
Journal of Music Theory (2016) 60 (2): 181–212.
Published: 01 October 2016
... a two-dimensional array of twelve pitch interval cycles from intervals 1 to 12 (12 = octave) aligned vertically and horizontally; each cycle begins on the note C2. . . . Berg labels every horizontal cycle by the traditional interval name (inter- val cycle designations are added...
Journal Article
Journal of Music Theory (2005) 49 (2): 241–275.
Published: 01 October 2005
... adds new material, based on the G≤–F–E≤–D diminished tetrachord. And, with that new material, he creates the sophisticated motivic and transpositional relationships shown in Example 3.2 He first recorded the part given on the bottom line of my transcription (labeled “Right which supplies...
Journal Article
Journal of Music Theory (2009) 53 (2): 227–254.
Published: 01 October 2009
... points {0, c} where 0  c  6, or as discrete, with just the seven labeled points.) Distance represents the size of the minimal voice leading between the set-classes’ ele- ments, measured using the “taxicab” metric. For example, {0, 0} is one unit away from {0, 1} since we can transform any unison...