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melodic contour

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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 (2022) 66 (1): 93–128.
Published: 01 April 2022
...Kristen Wallentinsen Abstract Melodic contour is one of a melody's defining characteristics. Music theorists such as Michael Friedmann, Robert Morris, Elizabeth West Marvin and Paul Laprade, and Ian Quinn have developed models for evaluating similarities between contours, but only a few compare...
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Journal Article
Journal of Music Theory (2014) 58 (2): 103–154.
Published: 01 October 2014
...,and he produced Ex. 8 different(correx 7/18/14): emphases by changing the correlation between the text and the melodic phrase, so that the peak of the melodic contour coincides with different syllables...
Journal Article
Journal of Music Theory (2021) 65 (1): 139–169.
Published: 01 April 2021
...Example 7. Hemiola, funky rhythms, and the bass line's melodic contour. BWV 1043, mvt. 3, mm. 123–26. ...
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Journal Article
Journal of Music Theory (2016) 60 (1): 23–50.
Published: 01 April 2016
... for the Discussion of Contour: Its Application to Schoenberg's ‘Music.’” Journal of Music Theory 29 / 2 : 223 – 48 . Kolinski Mieczyslaw . 1965 . “The Structure of Melodic Movement: A New Method of Analysis.” In Studies in Ethnomusicology , vol. 2 , ed. Kolinski Mieczyslaw , 96 – 120...
Journal Article
Journal of Music Theory (2021) 65 (2): 325–374.
Published: 01 October 2021
... patterns also distinguish the interleaved parts, with the left hand having a basic arched melodic contour repeating only at the measure, while the right hand repeats every half measure. This creates a multileveled hierarchy to the phasing process: the left-hand and right-hand chords combine...
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Journal Article
Journal of Music Theory (2021) 65 (1): 39–80.
Published: 01 April 2021
... patterns, melodic contours, and harmonic progressions. See, e.g., Gerard 1998 : 54–58. Using the Salsa Rhythm application ( salsabeatmachine.org ), one can hear each component of the salsa rhythm section individually and in various combinations. 23 In a similar vein but on a larger scale, Edgardo...
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Journal Article
Journal of Music Theory (2010) 54 (2): 311–324.
Published: 01 October 2010
... of speech intonation. Nevertheless, Patel challenges the apparent conclusion (reached by others) that the mental processing of melody and of speech is therefore modular. Instead, he proposes the “melodic contour deafness hypothesis,” which accounts for all relevant results: mTDIs do in fact have...
Journal Article
Journal of Music Theory (2004) 48 (1): 69–98.
Published: 01 April 2004
... throughout the first twelve measures of the piece. Example 11 contains a sketch of the prin- cipal melodic ideas in this section. As the example shows, G ascends through B≤ to D in m. 3, forming a triadic contour that arches over the first three measures. The triadic ascent continues to G5 in m. 5 where...
Journal Article
Journal of Music Theory (1999) 43 (2): 231–255.
Published: 01 October 1999
..., that musical things—melodies, contours, rhythms, meters, and harmonies, for instance—exist, as such, outside our perception of them. Musical signals (oscillations of air mol- ecules and the like), even if perceived melodically, possess no inherent melodic properties of their own. Melody—and by extension...
Journal Article
Journal of Music Theory (2001) 45 (1): 73–118.
Published: 01 April 2001
...; the number two is prominent in the arrangement of the canonic voices in pairs of pitches separated by an octave (e-e’ and A-a); the canonic time-interval is two tempora, as in Gascongne. Divi- tis’s opening melodic contour, and more importantly, the unusual closing gesture, bear striking...
Journal Article
Journal of Music Theory (2012) 56 (1): 87–120.
Published: 01 April 2012
... analyzed. Example 4 illustrates the three musical parameters—a contour interval, a normal melodic interval, and a rhythmic duration—that are associated with each note in a line. The melodic interval is the number of diatonic steps by which the note...
Journal Article
Journal of Music Theory (2014) 58 (1): 1–24.
Published: 01 April 2014
... for keyboard. It turns out that the subject of this fugue is so marked in rhythm and contour that it seems to motivate—and even demand—its own transformation as the fugue unfolds. One consequence of such transformation is a series of metric shifts from triple hypermeter during expositions to duple hypermeter...
Journal Article
Journal of Music Theory (2015) 59 (1): 1–61.
Published: 01 April 2015
... characterize in terms of a core vocabulary of fifteen melodic formulas. Appendix 1 presents a roster of these formulas, which captures a unique fingerprint of recitative, distinct from the comparable inventory of homophonic phrase schemas in Robert Gjerdingen’s Music in the Galant Style . These recitative...
Journal Article
Journal of Music Theory (2003) 47 (1): 41–101.
Published: 01 April 2003
... sensitive pitch. In mm. 76–79, it is conspicuous in the imitation among several voice-leading strands, especially as it relates to G≥. Subsequently AΩ receives repeated empha- sis as the highpoint of many of the melodic contours in the first violin 60 Example 7. Haydn, Quartet Op. 76/6, II: Fantasia...
Journal Article
Journal of Music Theory (2006) 50 (1): 65–76.
Published: 01 April 2006
..., as each ends with a transposition of the same five-note cadential gesture. The final phrase presents a climax and summation as it traverses the entire melodic range in a single impulse. The solid, highly organized structure of this melody...
Journal Article
Journal of Music Theory (2000) 44 (1): 236–249.
Published: 01 April 2000
...) and surely inescapable, so is that of Rodgers’ and Hart’s “My Funny Valentine” to Brahms’s C≥-minor Intermezzo. In this instance it is almost as though Rodgers left a deliber- ate clue in the unexampled unison verse, as well as his marks of homage in the refrain’s initial contour (including its ascent...
Journal Article
Journal of Music Theory (2000) 44 (1): 127–169.
Published: 01 April 2000
... of what we term modulating melodic se- quence, with the music shown in the lower staff of Example 1.1 The fol- lowing words accompany Koch’s illustration: “These types of Transpo- sition were quite frequently used in older compositions, and to a certain extent have become obsolete; they are rather...
Journal Article
Journal of Music Theory (2014) 58 (2): 155–178.
Published: 01 October 2014
... .” Journal of the Acoustical Society of America 94/4 : 1953 – 57 . Conklin Darrell Witten Ian . 1995 . “ Multiple Viewpoint Systems for Music Prediction .” Journal of New Music Research 24/1 : 51 – 73 . Cuddy Lola Lunney Carol . 1995 . “ Expectancies Generated by Melodic...
Journal Article
Journal of Music Theory (2012) 56 (2): 169–223.
Published: 01 October 2012
... literature, reflecting scholars’ long-standing concern with style and compositional process. For instance, theorists of counterpoint have traditionally formulated rules that constrain the behavior of melodic lines by restricting the allowed successions of pitches, intervals...