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Journal Article
Journal of Music Theory (2023) 67 (2): 285–331.
Published: 01 October 2023
... energetic, and, through greater use of new modern instruments, highly electrified. These attributes were, as many have observed, artistic responses to the new urban setting and marked a distinct divergence from the genre's prewar origins. What have received less attention than timbre, tempo, and volume...
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Journal Article
Journal of Music Theory (2009) 53 (2): 255–304.
Published: 01 October 2009
...Kyle Adams This article is intended as a solution to a perceived problem with existing theories of pretonal chromatic music: Many modern theories of this repertoire have made anachronistic uses of models from major/minor tonality, and contemporaneous theories were not broad enough to adequately...
Journal Article
Journal of Music Theory (2007) 51 (1): 5–49.
Published: 01 April 2007
... Rameau, he, too, developed an overarching explanatory model of harmony that involves coherent concepts of harmonic functionality and chord morphology. Heinichen's and Rameau's “systems,” however, rest on opposing assumptions. However many speculative aspects it may embrace, Heinichen's music theory...
Journal Article
Journal of Music Theory (2020) 64 (1): 63–103.
Published: 01 April 2020
... to regard generic space as “diatonic,” the examples demonstrate that generic structure governs many sequences that are not actually diatonic at all. The examples also show that the sequences found in the literature include many more types than are widely recognized and that generic sequence structure may...
Journal Article
Journal of Music Theory (2012) 56 (2): 121–167.
Published: 01 October 2012
... suspensions. Understanding Rameau’s doctrine means, in part, retracing the many refinements, revisions, and reversals that it underwent over the course of its author’s career. This article accordingly reconstructs the development of supposition from the Traité de l’harmonie (1722) to the Code de musique...
Journal Article
Journal of Music Theory (2015) 59 (2): 191–234.
Published: 01 October 2015
...Stephen C. Brown Starting in the late 1960s Shostakovich used twelve-tone rows in many of his most significant compositions. These rows usually occur melodically within individual vocal or instrumental parts and function as part of a larger musical fabric that does not otherwise involve twelve-tone...
Journal Article
Journal of Music Theory (2016) 60 (2): 149–180.
Published: 01 October 2016
... by chords unrelated to V, such as IV, ii, ♭VII, or even versions of I. A theory of harmonic function rooted in chord category—e.g., ascribing dominant function to any chord related to V—inadequately accounts for rock's harmonic organization. I argue that syntactical elements underlie many existing...
Journal Article
Journal of Music Theory (2017) 61 (1): 29–57.
Published: 01 April 2017
..., there are many examples where the prolonged chord differs from the one being arpeggiated. Many of these involve a downward arpeggiation of a triad from fifth to root that connects two different harmonies. This article examines the prolongational issues involved in this type of arpeggiation. The first section...
Journal Article
Journal of Music Theory (2007) 51 (1): 51–83.
Published: 01 April 2007
... survived in many sources, but they cover only the first stage of realization because the techniques for more advanced realizations were transmitted orally. With the decadence and extinction of the living tradition, the realization of partimenti became a lost art. However, some principles for advanced...
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...
Journal Article
Journal of Music Theory (2020) 64 (2): 203–240.
Published: 01 October 2020
...Peter H. Smith Form theorists have shown increasing interest in applying the methodologies of Caplin and of Hepokoski and Darcy to sonata forms of the nineteenth century. Many of these efforts proceed under the assumption that late eighteenth-century norms continued to influence Romantic sonata...
Journal Article
Journal of Music Theory (2021) 65 (2): 185–237.
Published: 01 October 2021
...Mariusz Kozak Abstract This article explores the nature of metrical knowledge underlying Justin London's many-meters hypothesis. It argues that meter is a form of culturally situated kinesthetic knowledge, or a knowledge of what it feels like to move to music in a particular way. This reframing...
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Journal Article
Journal of Music Theory (2022) 66 (2): 189–222.
Published: 01 October 2022
...Daniil Zavlunov Abstract Anglophone topic theory scholarship evinces only peripheral awareness of rich traditions of topical analysis that have existed outside its linguistic sphere. Many of the elements defining Anglophone topic theory today were present in the writings of Soviet musicologists...
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Journal Article
Journal of Music Theory (2009) 53 (2): 191–226.
Published: 01 October 2009
...Timothy Cutler The voice exchange is an elementary concept that can help solve some of tonal music's most difficult analytical problems. Although many essays allude to the subject of voice exchanges, there have been few direct investigations of the topic. Why such an important compositional...
Journal Article
Journal of Music Theory (2008) 52 (1): 123–149.
Published: 01 April 2008
...Jennifer Bain The music of Hildegard of Bingen (1098-1179) has often been described as standing outside medieval chant traditions. This article argues that although many features of her music deviate from early chant, her repertoire conforms instead in remarkable ways with a late chant style, which...
Journal Article
Journal of Music Theory (2008) 52 (2): 219–249.
Published: 01 October 2008
...-leading spaces, generalized by Callender, Quinn, and Tymoczko, illustrate voice-leading relationships between sets. Though many researchers have noted hints of a relationship between these two types of space, their exact relation remains murky. One way of relating these two spaces involves associating...
Journal Article
Journal of Music Theory (2008) 52 (2): 273–320.
Published: 01 October 2008
...Brent Auerbach Tiered polyphony describes segments of music that manifest rhythmic/metric layering (Lester 1986) in the presence of polyphony. This texture, though a hallmark of the baroque era, is capable of generating a variety of musical effects over many style periods. This article establishes...
Journal Article
Journal of Music Theory (2010) 54 (2): 283–310.
Published: 01 October 2010
... change in musical structures. Yet this historical dimension, in many ways typical of its era, is complicated by a tenuous balance between the determinism demanded by rigorous scientific explanation and Helmholtz's evident desire to preserve a complex role for the “choice” of fundamental aesthetic...
Journal Article
Journal of Music Theory (2012) 56 (1): 87–120.
Published: 01 April 2012
... the information content of these expositions and the virtual agents therein. Additionally, I assemble a larger corpus of expositions, many of which deploy virtual agents in a similar manner. Using formal statistical analysis, I show that these similarities can be traced back to the expositions’ information...
Journal Article
Journal of Music Theory (2012) 56 (2): 169–223.
Published: 01 October 2012
... style. As a concrete illustration, this article builds a formal grammar of rhythm for the Palestrina style. The grammar’s structure and components are carefully explained, and the formalism is compared with existing approaches to style characterization. Many traditional counterpoint rules are shown...