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Image
Published: 01 April 2021
Figure 1. A time-line pattern often referred to as the standard pattern , shown with the main beat (metrical interpretation). Figure 1. A time-line pattern often referred to as the standard pattern, shown with the main beat (metrical interpretation). More
Image
Published: 01 April 2021
Image 10. From Playford 1698 . The first bar line in the last system is extraneous. Image 10. From Playford 1698. The first bar line in the last system is extraneous. 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...
Image
Published: 01 April 2021
Example 7. Hemiola, funky rhythms, and the bass line's melodic contour. BWV 1043, mvt. 3, mm. 123–26. 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
Image
Published: 01 April 2021
. The temporal beat positions, estimated using the fiddler's foot stamping, are indicated by vertical dashed lines in the plots. Figure 3. (a) A simplified transcription of “Sud-Kåsen” and plots showing (b) the amplitude waveform, (c) the audio spectrogram, (d) bowing movements, and (e) the vertical motion More
Journal Article
Journal of Music Theory (2004) 48 (2): 295–324.
Published: 01 October 2004
... be- tween separate musical lines, each of which is continued in rough alter- nation, necessitating interlock between the separated strands of each line. The ultimate goal of such works is a synthesis between these competing musical lines. With his theory, Cone provided an analytic method to reveal...
Journal Article
Journal of Music Theory (2014) 58 (2): 103–154.
Published: 01 October 2014
..., as an utterance. And that means taking into account not only aspects of poetry that are readily apparent in the printed text, such as division into lines and stanzas, but also aspects of spoken language, such as the placement and differentiation of word stresses...
Journal Article
Journal of Music Theory (2004) 48 (1): 25–68.
Published: 01 April 2004
... the professed aims of Monteverdi and Caccini through the War of the Buffoons to the findings of modern scholarship, vocal music has usually been subject to more of an “expressive” burden than has instrumental music. This paper will not be the occasion for the out- lining of a theory of text-music relations...
Journal Article
Journal of Music Theory (1999) 43 (2): 257–281.
Published: 01 October 1999
...- ever, this ≤VI enters as part of a chromatic passing-tone bass line origi- nating in the verse. This line leads through ≤VI to V, which then pro- gresses to I. Although emphasis is given to the ≤VI, it must clearly be seen as subordinate to the V-I progression that it essentially decorates. In his...
Journal Article
Journal of Music Theory (2001) 45 (2): 457–469.
Published: 01 October 2001
..., the 459 answer to this question turns out to be “no.” Because Schachter assumes that durational rhythm and tonal rhythm are conceptually prior to meter, he believes that meter emerges from the interaction of both: My distinction between tonal and durational rhythm cuts across different lines...
Journal Article
Journal of Music Theory (2006) 50 (1): 77–101.
Published: 01 April 2006
... chorale melody; chorale phrases 1 and 2 unfold the tune with silent text on the old year’s passing as chromatic lines in manual 2 and pedal ascend and descend, traversing scale degrees to , and exchange these trajectories in invertible counterpoint. Phrase 3...
Journal Article
Journal of Music Theory (2005) 49 (2): 241–275.
Published: 01 October 2005
...). To create that album’s special sound, Evans first recorded one piano track. Then, while listening to that track, he recorded another track to go with it. For many of the selections, once he had two tracks he liked, he overdubbed a third. Composed of these improvised lines, Conversations with Myself...
Journal Article
Journal of Music Theory (2003) 47 (2): 225–272.
Published: 01 October 2003
... treats a sequence along the following lines: 1. A pattern is a musical object constituted by harmonic, melodic, rhythmic, and metric features. The length of the pattern can be described by its rhythmic/metric duration as well as by the num- ber of its discrete harmonic states (chord...
Journal Article
Journal of Music Theory (2003) 47 (1): 155–214.
Published: 01 April 2003
... E. Carter, Third Edition. London: Faber, 1978 . Schubert, Peter. “`A New Epic of Polyphonic Style': Schoenberg on Chords and Lines.” Music Analysis 12/3 ( 1993 ): 289 -319. Watkins, Glenn. Pyramids at the Louvre: Music, Culture and Collage from Stravinsky to the Postmodernists...
Journal Article
Journal of Music Theory (2001) 45 (2): 233–261.
Published: 01 October 2001
... Furthermore, they often lack a complete descent of the fundamental line from the primary tone (usually £ or ∞) to ¡, although the upper voice typ- ically descends by step (e.g., over the plagal motion IV-I or over the auxiliary cadence IV-V-I). In recent years, several analysts have proposed...
Journal Article
Journal of Music Theory (2001) 45 (1): 162–169.
Published: 01 April 2001
... the first movement of Beethoven’s Piano Sonata in F Major, Op. 10, No. 2, as an •-line (II, 26), but revises his in- terpretation to an interrupted -line in Free Composition (Fig. 101/4). One can only speculate why so few fundamental lines descending from appear in his published analyses after 1926...