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Journal Article
Journal of Music Theory (2017) 61 (2): 289–296.
Published: 01 October 2017
...Ruth I. DeFord Grant Roger Mathew , Beating Time and Measuring Music in the Early Modern Era , Oxford University Press , 2014 : viii + 309 pp. ( $45.00 cloth) Copyright © 2017 by Yale University 2017 Works Cited Bank J. A. 1972 . Tactus, Tempo, and Notation...
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Published: 01 April 2021
the lead's footwork, switch the order of the two measures. Figure 2. Footwork pattern for the on-1 salsa basic (single dancer on score, noting contour and durational accents). C = large contour accent; c = small contour accent; D = (interonset) durational accent; R = right foot; L = left foot More
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Published: 01 April 2021
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 of the fiddler's feet over four measures. The foot stamping follows a long-medium-short duration pattern More
Image
Published: 01 April 2021
Figure 4. Plots showing (a) the dancers' libration curves, (b) the vertical acceleration of the dancers' libration curves, and (c) the vertical acceleration of the fiddler's foot stamping. All three are chunked into segments of two measures and plotted on the same graph. The dancers' libration More
Journal Article
Journal of Music Theory (2013) 57 (1): 47–85.
Published: 01 April 2013
...John Paul Ito This article extends existing approaches to hypermeter by introducing schemas that make measure-by-measure correlations between grouping units and hypermeasures. These schemas offer an account of how listeners track hypermeter through irregularities and discontinuities. In order...
Journal Article
Journal of Music Theory (2007) 51 (2): 277–332.
Published: 01 October 2007
... by their spectra and located in a harmonic space of all possible chord spectra. Euclidean and angular distance metrics defined on chord spectra correlate strongly with common interval-based similarity measures such as IcVSIM and ANGLE. Thus, we can approximate these common measures of harmonic similarity...
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
Journal Article
Journal of Music Theory (2003) 47 (1): 125–154.
Published: 01 April 2003
..., Robert. 1988 . A Classic Turn of Phrase: Music and the Psychology of Convention . Philadelphia: University of Pennsylvania Press. Imbrie, Andrew. 1973 . “`Extra' Measures and Metrical Ambiguity in Beethoven.” In Beethoven Studies , edited by Alan Tyson, 45 -66. New York: Norton. Kamien, Roger...
Journal Article
Journal of Music Theory (2000) 44 (2): 261–322.
Published: 01 October 2000
... : 5 –44. Geiringer, Karl. 1982 . Brahms: His Life and Work . 3d ed., rev. and enlarged. New York: Da Capo Press. Goldman, Richard. 1951 . “Current Chronicle.” Musical Quarterly 37 : 87 –89. Grave, Floyd K. 1985 . “Metrical Displacement and the Compound Measure in Eighteenth-Century...
Journal Article
Journal of Music Theory (2013) 57 (1): 87–118.
Published: 01 April 2013
... of Music Theory 11/3 : 203 – 16 . Gloede Wilhelm . 2012 . “ Schlusshemiolen und ‘Anfangshemiolen’ bei Händel .” Göttinger Händel-Beiträge 14 : 215 – 28 . Grave Floyd K . 1985 . “ Metrical Displacement and the Compound Measure in Eighteenth-Century Theory and Practice .” Theoria...
Journal Article
Journal of Music Theory (2009) 53 (1): 57–94.
Published: 01 April 2009
....” In Generative Processes in Music: The Psychology of Performance, Improvisation, and Composition , ed. John A. Sloboda, 70 -90. Oxford: Clarendon. Repp, Bruno H. 1998a . “A Microcosm of Musical Expression: I. Quantitative Analysis of Pianists' Timing in the Initial Measures of Chopin's Etude in E major...
Includes: Supplementary data
Journal Article
Journal of Music Theory (2021) 65 (1): 39–80.
Published: 01 April 2021
... the lead's footwork, switch the order of the two measures. Figure 2. Footwork pattern for the on-1 salsa basic (single dancer on score, noting contour and durational accents). C = large contour accent; c = small contour accent; D = (interonset) durational accent; R = right foot; L = left foot...
FIGURES | View All (16)
Journal Article
Journal of Music Theory (2021) 65 (1): 81–106.
Published: 01 April 2021
... in general as a potential source of hypermetrical hearing, or levels of meter above the notated measure. Such a hypothesis is also implicitly supported by recent work on movement and the body in relation to meter and music more broadly. Considerable cognitive work shows that motor regions of the brain...
FIGURES | View All (17)
Journal Article
Journal of Music Theory (2014) 58 (2): 155–178.
Published: 01 October 2014
... and, for the most part, the same pattern of generic intervals (i.e., intervals measured in steps on the staff). However, the pattern is not simply shifted along the underlying scale; in each case, it is slightly altered in some way. In the first melody, for example, a sixth in the first instance...
Journal Article
Journal of Music Theory (2003) 47 (1): 41–101.
Published: 01 April 2003
... in rhythmic-textural variety and, especially, in artfully controlled chromatic play. The Theme is laid out in two parts, each of which is repeated (see Example 2). The initial eight-measure phrase (phrase 1) progresses from tonic to dominant and comprises part 1. The larger second section con- sists...
Journal Article
Journal of Music Theory (2005) 49 (1): 45–108.
Published: 01 April 2005
... 2 and 3). Rahn, John. 1979–80 . “Relating Sets.” Perspectives of New Music 18 / 1–2 : 483 –98. Robinson, Thomas. 2006 . “The End of Similarity? Semitonal Offset as Similarity Measure.” Paper presented at the annual meeting of the Music Theory Society of New York State, Saratoga Springs...
Journal Article
Journal of Music Theory (2013) 57 (2): 419–431.
Published: 01 October 2013
... seventh and ninth chords, acciaccature, “tone clusters,” and unusual chord voicings. In Tenzer and Ziporyn’s analysis, the opening and final four measures are harmonically problematic and extraordinarily long from the vantage point of Justin...
Journal Article
Journal of Music Theory (2014) 58 (1): 1–24.
Published: 01 April 2014
...- voice “fughetta” (the generic label is Bach’s), the subject retains its four- measure length throughout yet undergoes palpable tonal transformations that permit Bach to follow the tonal plan of the theme without recourse to episodes. (In most fugues, the burden...
Journal Article
Journal of Music Theory (2005) 49 (2): 209–239.
Published: 01 October 2005
.... (The head of “Straight, No Chaser” is presented and discussed below.) Adderley begins slowly in the first two improvised choruses: phrases are short and use few notes, the pacing of events is deliberately measured, and he uses frequent repetition. There is an almost equal amount of rest...
Journal Article
Journal of Music Theory (1999) 43 (2): 283–314.
Published: 01 October 1999
... this. Martin Williams, a leading jazz critic and probably Peterson’s most articulate de- tractor, says “If there were some mechanical means for measuring swing, Peterson might get a score of 100 per cent. And there can be no question but that he is a rhythmically engaging player” (1966, 178...