...Nathan John Martin Abstract The history of music theory, as it has usually been taught in the United States, has focused on a small canon of texts written mostly in Latin, Italian, French, and German. This article advocates a more expansive view of the subdiscipline's remit by way of three case...

...Nathan John Martin The precise sense of Jean Philippe Rameau’s conception of supposition is among the more vexing questions that his theorizing poses. Supposition has been interpreted, on the one hand, as an account of ninth and eleventh chords and, on the other, as a means of explaining melodic...

...José Oliveira Martins The article proposes that a construct I call the Dasian space provides an effective framework to interpret harmonic aspects of scale relations in twentieth-century polymodality, particularly in the music of Bartók. Based on Bartók's intuition that the pitch space modeled after...

...Henry Martin BALANCING COMPOSITION AND ­IMPROVISATION IN JAMES P. JOHNSON’S “CAROLINA SHOUT” Henry Martin It is often thought that improvisation defines...

... Larson is Robert M. Trotter Professor of Music at the University of Oregon and a member of its Institute of Cognitive and Decision Sciences. His book Ana- lyzing Jazz—A Schenkerian Perspective will be published by Pendragon Press. Henry Martin is Professor of Music at Rutgers University–Newark...

... Method. Music Theory Spectrum 20 (2): 209 –241. Martin, Henry. 1996 . Charlie Parker and Thematic Improvisation . Lanham, Maryland: Scarecrow Press. Morrison, Ken. 1999 . “ A Polymetric Interpretation of the Swing Impulse: Rhythmic Stratification in Jazz .” Ph.D. diss., University...

... 8 : 1 -15. ____. 2005 . “Composition versus Improvisation?” Journal of Music Theory 49 : 241 -75. Martin, Henry. 1996 . Charlie Parker and Thematic Improvisation . Lanham, MD: Scarecrow. ____. 2006 . “We Remember Clifford: Variation Technique at the Middleground.” Nederlands...

...Daphne Leong Daphne Leong is associate professor of music theory and chair of the Theory and Composition Department at the University of Colorado at Boulder. Clayton Martin , Dueck Byron , and Leante Laura , eds. Experience and Meaning in Music Performance . Oxford...

... . Philosophy in a New Key: A Study in the Symbolism of Reason, Rite, and Art . Cambridge, Massachusetts: Harvard University Press. ____. 1953 . Feeling and Form: A Theory of Art . NewYork: Charles Scribner's Sons. Martin, Wallace. 1986 . Recent Theories of Narrative . Ithaca: Cornell University Press...

... Joshua Banks . 2020 . “ Portmantonality and Babbitt's Poetics of Double Entendre .” Music Theory Online 26 , no. 2 . http://mtosmt.org/issues/mto.20.26.2/mto.20.26.2.mailman.php . Martin Henry . 2018 . “ Prolongation and Its Limits: The Compositions of Wayne Shorter .” Music Theory...

... the Truth’: Indie Pop and Kitsch Authenticity .” Popular Music 29 / 3 : 457 – 69 . Gollin Edward . 2000 . “ Representations of Space and Conceptions of Distance in Transformational Music Theories .” Ph.D. diss. , Harvard University . Heidegger Martin . 2008a . Basic Writings...

... and vorhanden, ready-to-hand and present-at-hand. The tool, Martin Heidegger (2008: 69) explains in his magnum opus, Being and Time, is distinguished by being ready-to-hand; it exists only insofar as it fulfills a specific function. Its mode of existence is withdrawal (Entzug), which is to say, in Heidegger...

... transposition up x semitones in the appropriate octave. In other words, x indicates what Joseph Straus calls an “ordered pitch class interval” (2000, 7). 3. Henry Martin makes this same point in an insightful discussion of Charlie Parker’s use of “pathways” and “licks” (1996, 115–19). 4...

... consisted of consisted of Victoria Malawey (chair), Nathan Martin, and Joti Rockwell. The Journal of Music Theory is pleased to announce that the 2022 David Kraehenbuehl Prize is presented to Rebecca Simpson-Litke for her article “Flipped, Broken, and Paused Clave: Dancing through Metric Ambiguities...

...: 23–43. Eybl, Martin. 2006. “Schopenhauer, Freud, and the Concept of Deep Structure in Music.” In Schenker-Traditionen: Eine Wiener Schule der Musiktheorie und ihre internationale Verbreitung/ A Viennese School of Music Theory and Its...

... . Cambridge, MA : MIT Press . Love Stefan . 2013 . “ Subliminal Dissonance or ‘Consonance’? Two Views of Jazz Meter .” Music Theory Spectrum 35 , no. 1 : 48 – 61 . Martin Henry . 2003 . “ Maria Schneider’s Hang Gliding: Aspects of Structure .” Tijdschrift voor Muziektheorie 8...

... .” In Music-Dance: Sound and Motion in Contemporary Discourse , edited by Veroli Patrizia and Vinay Gianfranco , 191 – 206 . London : Routledge . Clayton Martin . 2013 . “ Entrainment, Ethnography, and Musical Interaction .” In Clayton , Dueck , and Leante 2013 : 17...

... it was designed as an undergraduate textbook, with exercises for each chapter presented at the end of the book, while Moore's (now in a third edition, Moore and Martin 2019 ) is a scholarly monograph, and Everett's focuses on rock from the rise of Elvis Presley to the fall of the Beatles (1955–69) and is aimed...

..., formal articulation. There is no single order governing 9  Martin Zenck (1987) identifies six serial sound types and all these areas together: the rhythmic relationships, for their associations. Richard Steinitz (2003) discusses prior...

... describes the target repertoire as “North American and British popular music from what I call the ‘rock era’: roughly 1950 to the present.” Moore and Martin 2019 leans heavily on much of the same repertoire as Nobile but extends to more recent music. Moore 2012 : 16 notes: “In order to demonstrate...