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melody

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Journal Article
Journal of Music Theory (2006) 50 (1): 77–101.
Published: 01 April 2006
... of interactions of prolongational, associative, or stretto-like musical figurations in the prelude. These “differences” in orientation become creative and expressive of newly available content, multiplying interactions of composition and text, reception and analysis. Inventing a Melody with Harmony Tonal...
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Published: 01 October 2021
Figure 20. The initial melody of Vermont Counterpoint (a) and its spectrum (b). Figure 20. The initial melody of Vermont Counterpoint (a) and its spectrum (b). More
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Published: 01 October 2021
Figure 27. Spectra of the canons and reduced melody in Sextet ii. Figure 27. Spectra of the canons and reduced melody in Sextet ii. More
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Published: 01 October 2021
Figure 30. The basic melody of Electric Counterpoint ii (a) and its spectrum with that of the canon entries (b). Figure 30. The basic melody of Electric Counterpoint ii (a) and its spectrum with that of the canon entries (b). More
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Published: 01 October 2021
Figure 32. Melody for the “Difficult” canon from The Desert Music , reh. 184 (a), and its spectrum and that of the canon entries (b). Figure 32. Melody for the “Difficult” canon from The Desert Music, reh. 184 (a), and its spectrum and that of the canon entries (b). More
Journal Article
Journal of Music Theory (2015) 59 (2): 191–234.
Published: 01 October 2015
...-tone melodies by situating them within the context of the broader concept of aggregate melodies. These melodies divide into four types, which are also relevant for music by other composers, and can be further described in terms of the relative tightness or looseness of their structural features...
Journal Article
Journal of Music Theory (2006) 50 (1): 65–76.
Published: 01 April 2006
...William Renwick This essay discusses tonal ambiguity in the chorale melody “Das alte Jahr” and suggests a poetic interpretation of Bach's chorale. Expressive elements such as the passus duriusculus , the sospiro , and pervasive chromaticism are woven into a radical tonal plan that reflects...
Journal Article
Journal of Music Theory (2020) 64 (2): 241–281.
Published: 01 October 2020
... pitch class transpositions show the scales and melodies that prolong third-related harmonies also participate in their own third relations. 241 Journal of Music Theory 64:2, October 2020 DOI 10.1215/00222909-8550795 © 2020 by Yale University Modal Spelled Pitch Class, La-Minor Solfège, and Schubert s...
Journal Article
Journal of Music Theory (2011) 55 (1): 1–41.
Published: 01 April 2011
... of melody and harmony and define the field of possibilities in which each melodic/harmonic change takes place—a “space” in which the changes can be heard as meaningful in relation both to themselves and to the text. Overall, these results suggest how the ostensibly mechanical melodic and harmonic processes...
Journal Article
Journal of Music Theory (2008) 52 (1): 13–40.
Published: 01 April 2008
... in part on demonstration that an orderly substructure of rational precept anchored the melodies; and a corollary drive to connect prestigious Greek music theory (circulating under the authority of Boethius and central to the liberal arts curriculum...
Journal Article
Journal of Music Theory (2000) 44 (1): 127–169.
Published: 01 April 2000
...; sequential repetition thereby constitutes an invaluable resource for the writing of melody. The present essay traces the reception of sequential repetition in the Kompositionslehren of Koch, Reicha, and Marx, situating its shifts within the wider domain of the study of melody. My assessment...
Journal Article
Journal of Music Theory (2008) 52 (1): 75–122.
Published: 01 April 2008
... in the Thirteenth Century.” Early Music History 16 : 1 -53. ____. 2000 . “Genre as a Determinant of Melody in the Songs of the Troubadours and the Trouvères.” In Medieval Lyric: Genres in Historical Context , ed. William D. Paden, 273 -96. Urbana: University of Illinois Press. ____. 2001 . “Sources...
Journal Article
Journal of Music Theory (2012) 56 (1): 87–120.
Published: 01 April 2012
... The predictability of lines might play an important role in determining whether any virtual agents they create are leading or subordinate. While leading agents are established by such lines as melodies and countermelo- dies, subordinate agents are created by accompaniments...
Journal Article
Journal of Music Theory (2005) 49 (2): 241–275.
Published: 01 October 2005
... levels of tonal structure. And the melody echoes that descent in m. 4. The A section ends with a “linking motive.” I call it the “linking motive” because it participates in a kind of hidden repetition that Schenker called Knüpftechnik or “linkage technique”: the motive that ends the first A sec...
Journal Article
Journal of Music Theory (2014) 58 (2): 155–178.
Published: 01 October 2014
... . “ Expectation in Melody: The Influence of Context and Learning .” Music Perception 23/5 : 377 – 405 . Povel Dirk-Jan Essens Peter . 1985 . “ Perception of Temporal Patterns .” Music Perception 2/4 : 411 – 40 . Schellenberg E. Glenn . 1997 . “ Simplifying the Implication...
Journal Article
Journal of Music Theory (1999) 43 (2): 283–314.
Published: 01 October 1999
.... Clearly, the variations are based on some aspects of the theme. Example 1 describes the formal structure of the chorus of “Night and Day.” (In what follows, any reference to “Night and Day” or “the original melody” is a reference to its chorus.) Some musicians distinguish between (a) variations...
Journal Article
Journal of Music Theory (2021) 65 (2): 375–386.
Published: 01 October 2021
... a chord's sound or level of dissonance, or in some cases its function. For instance, in the first notated example, the introduction of the Beatles' “She Loves You” (example 2.1, 18), the second chord should be labeled A7 rather than A (thus the melody note G is a chord tone, albeit a dissonant one...
Journal Article
Journal of Music Theory (2003) 47 (1): 41–101.
Published: 01 April 2003
...), the last chromatic, pc 1, has not yet appeared, and its continued absence through the antecedent phrase generates a certain structural tension in view of the expectation of aggre- gate completion. The missing element, pc 1, makes a dramatic appear- ance in the melody of the last phrase of the Menuetto...
Journal Article
Journal of Music Theory (2003) 47 (2): 273–304.
Published: 01 October 2003
... melody and to seek in the nature of the matter itself rules by whose observance melody becomes more perfect.1 (Kirnberger [1771–79] 1982, 281) This passage, which appears in the introduction to volume II of Kirn- berger’s Die Kunst des reinen Satzes in der Musik—the portion of the treatise...
Journal Article
Journal of Music Theory (2005) 49 (2): 301–332.
Published: 01 October 2005
...- quent avoidance of standard forms. The main aim of this study is to describe Shorter’s harmonic practice in these works, but I also make some observations on melody and form Journal of Music Theory, 49:2 DOI 10.1215/00222909-010  © 2008 by Yale University...