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Published: 01 April 2021
Figure 1. A time-line pattern often referred to as the standard pattern , shown with the main beat (metrical interpretation). More
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Published: 01 April 2021
Image 10. From Playford 1698 . The first bar line in the last system is extraneous. More
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Published: 01 October 2021
Figure 33. Spectra for the signature rhythm and rhythms from Six Pianos , Eight Lines , Sextet iv, Electric Counterpoint ii, and the “Difficult” canon from The Desert Music , proportionally scaled. Values are normalized by power (the sum of squared magnitudes). More
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Published: 01 April 2023
Figure 8.2. A Mahanthappa-style line partitioning of the 01347B hexachord into a major triad (open note heads) and a 024 subset. The line uses transpositions on C and F♯. More
Journal Article
Journal of Music Theory (1999) 43 (1): 101–133.
Published: 01 April 1999
...David Smyth 1999 © Yale University, New Haven, Connecticut 06520 1999 SCHENKER’S OCTAVE LINES RECONSIDERED David Smyth Of three background configurations formulated by Schenker, the Ur- linie that descends through an entire octave...
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Published: 01 October 2021
Figure 23. Spectra for the canonic configurations in Eight Lines . More
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Published: 01 October 2021
Figure 22. Reduction of the Eight Lines ostinato (a) and its spectrum (b). More
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Published: 01 October 2021
Figure 21. Ostinato for Eight Lines (a), the spectrum of each measure in a ten-element universe (b), and the spectrum of the entire rhythm in a twenty-element universe (c). More
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Published: 01 October 2021
Figure 35. Eight Lines , reh. 17, pianos and strings (a), and the spectrum of the strings' rhythm (b). More
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Published: 01 April 2021
Example 7. Hemiola, funky rhythms, and the bass line's melodic contour. BWV 1043, mvt. 3, mm. 123–26. More
Journal Article
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 (2008) 52 (2): 273–320.
Published: 01 October 2008
... 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...
Journal Article
Journal of Music Theory (2018) 62 (2): 249–278.
Published: 01 October 2018
...Paul Steinbeck This article examines Anthony Braxton’s Composition 76 , a landmark work for three multi-instrumentalists. The score for Composition 76 employs graphic techniques (colors, shapes, and codes) as well as traditional notation on five-line staves. Original transcriptions of two studio...
Journal Article
Journal of Music Theory (2011) 55 (1): 43–88.
Published: 01 April 2011
...-Riemannian L, P, and R) preserve common tones. Sequential enchaining of contextual inversions will generally define simple, straight-line motions within the spaces described in this article. The musical motions of works by Webern, Schoenberg, and Stravinsky are measured against the systematic standard...
Includes: Supplementary data
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Published: 01 April 2023
Figure 22. Average distance per move in realizations of Intermission 6 in performance space comprising inversional pitch center versus semitonal span, including human performances, simulated performances, and derived reference values. Solid lines, values derived from the simulation; dotted More
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Published: 01 April 2023
Figure 4. Bar graph depicting the prevalence of each sound in the performance corpus. The uniform distribution is given by the dashed horizontal line. More
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Published: 01 April 2023
Figure 8. The Scambi performance space annotated with step classes relative to family 3. Each step class is illustrated with a different line style. More
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Published: 01 April 2023
Figure 6. Families of audio segments represented as directed edges in the Scambi compositional space. Orthogonal line segments form virtual edges that connect the two halves of the space. More
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Published: 01 April 2021
. The temporal beat positions, estimated using the fiddler's foot stamping, are indicated by vertical dashed lines in the plots. More
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Published: 01 April 2023
Figure 2.2. Some common voicings for fourteen genera: clustered, tertian, and quartal chords with three to six notes, along with equipollent trichords and tetrachords. Each line contains chords of a particular size. Above the staff I label chord categories and voicing types. The characteristic More