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Published: 01 April 2021
Example 7. Franco-Italian metric type and displacement dissonance in the trio. Tchaikovsky, Nutcracker , act 1, no. 9, Waltz of the Snowflakes, mm. 148–56. More
Journal Article
Journal of Music Theory (2021) 65 (1): 107–137.
Published: 01 April 2021
...Example 7. Franco-Italian metric type and displacement dissonance in the trio. Tchaikovsky, Nutcracker , act 1, no. 9, Waltz of the Snowflakes, mm. 148–56. ...
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Journal Article
Journal of Music Theory (2004) 48 (2): 325–336.
Published: 01 October 2004
...- ment—both higher and lower—may be present. “Meters may thus be determined not only in terms of the organization of their essential levels but also in terms of the presence (or absence) of additional levels of struc- ture” (18). Determined in this way, meters turn into metrical types. The idea...
Journal Article
Journal of Music Theory (2009) 53 (1): 1–56.
Published: 01 April 2009
...Scott Murphy The metric cube is a kind of graph of meters proposed as a complement to the types of metric spaces that have already been put forth in music-theoretic scholarship, particularly by Richard Cohn. Whereas Cohn's most recent kind of metric space (2001) can compare meters only...
Journal Article
Journal of Music Theory (2009) 53 (1): 57–94.
Published: 01 April 2009
... (b) / ð ð ð Š 0 Łð Łð Łð Łðn Example 1.  Two types of metrical intensification processes: (a) terraced intensification...
Includes: Supplementary data
Journal Article
Journal of Music Theory (2021) 65 (1): 39–80.
Published: 01 April 2021
...Rebecca Simpson-Litke Abstract This article examines some of the complex interactions between salsa music and dance by focusing on physical interpretations of specific types of metric ambiguities and disruptions. It explores both the fairly frequent displacement dissonances that arise when...
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Journal Article
Journal of Music Theory (2013) 57 (1): 87–118.
Published: 01 April 2013
... . “ Beethoven with and without ‘Kunstgepräng’: Metrical Ambiguity Reconsidered .” Beethoven Forum 4 : 165 – 93 . ———. 2008 . “ National Metrical Types in Music of the Eighteenth and Nineteenth Centuries .” In Communication in Eighteenth-Century Music , ed. Mirka Danuta Agawu Kofi , 112 – 59...
Journal Article
Journal of Music Theory (2013) 57 (1): 47–85.
Published: 01 April 2013
... . Rothstein William . 1989 . Phrase Rhythm in Tonal Music . New York : Schirmer . ———. 1995 . “ Beethoven with and without Kunstgepräng’: Metrical Ambiguity Reconsidered .” Beethoven Forum 4 : 165 – 93 . ———. 2008 . “ National Metrical Types in Music of the Eighteenth and Early Nineteenth...
Journal Article
Journal of Music Theory (2021) 65 (1): 81–106.
Published: 01 April 2021
... the spatial locations that dancers are to occupy are more essential to a contredanse's structure than the figures or movements between those locations. Table 4. Motion, music, and hyperbeats in the 2-3-4-1 schema Hyperbeat Type of attribute 2 3 4 1 Degree of metrical weight...
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Journal Article
Journal of Music Theory (2016) 60 (2): 97–148.
Published: 01 October 2016
... . “National Metrical Types in Music of the Eighteenth and Early Nineteenth Centuries.” In Communication in Eighteenth-Century Music , ed. Mirka Danuta Agawu Kofi , 112 – 59 . New York : Cambridge University Press . Russ Michael . 1993 . “On Schenkerism: A Closed Circle of Elite...
Journal Article
Journal of Music Theory (2002) 46 (1-2): 127–151.
Published: 01 October 2002
..., while the vertical edges represent ternary relationships. The four basic metric types (duple versus triple and simple versus compound) are enclosed in the dashed box. Vertices that involve concatenations of beats and larger units are measures and hypermeasures (the upper two quadrants), and vertices...
Journal Article
Journal of Music Theory (2015) 59 (2): 321–332.
Published: 01 October 2015
... . 1982 . “Between Rubato and Rigid Rhythm: A Particular Type of Rhythmical Asymmetry as Reflected in Bartók's Writings on Folk Music.” Studia Musicologica 24 : 327 – 37 . Gallwey W. Timothy . 1974 . The Inner Game of Tennis . New York : Random House . Lerdahl Fred Jackendoff...
Journal Article
Journal of Music Theory (2000) 44 (1): 1–43.
Published: 01 April 2000
...- trated in ex. 3. The motivic development involves not only a new tonal context and metric position, but also a reinterpretation based on the poten- tial for the melodic relationships outlined in ex. 2a.1 The circumstances in the Bach present what Carl Schachter calls an either/or situation.2...
Journal Article
Journal of Music Theory (2009) 53 (1): 137–162.
Published: 01 April 2009
... rise to the instrument's rhythmic complexity. Drawing upon these permutational relationships, this study analyzes excerpts from bluegrass banjo repertoire in terms of the connections among rhythmic patterns rendered as beat-class sets. Last, it examines the interaction between these sets and metric...
Journal Article
Journal of Music Theory (2011) 55 (2): 253–264.
Published: 01 October 2011
..., shadow meter, metric dissonance (displacement and grouping types), and complex hemiolas. Of these, hypermeter, metric dissonance, and complex hemiolas come especially to the fore when he addresses individual songs. An attractive feature of the analytical chapters—one that arises from...
Journal Article
Journal of Music Theory (2000) 44 (2): 261–322.
Published: 01 October 2000
.... Absolute durations are defined by tempo (the character of the music) and are chronometric. Fétis distinguished between two types of accent: one associated with metric organization and one associated with “intensity.” The former Fétis called the “strong beat,” the metric accent that is “imposed...
Journal Article
Journal of Music Theory (2012) 56 (2): 169–223.
Published: 01 October 2012
... grammar and counterpoint rules of rhythm The first type of counterpoint rules to consider are those constraining metric placement, which appear under R1–R5 in section 1.2. Using the correspon- dence between HMM states and metric...
Journal Article
Journal of Music Theory (2013) 57 (2): 245–286.
Published: 01 October 2013
... (“gradus suavitatis”) for all types of sonorities. Euler’s is the type of consonance theory that H. Floris Cohen has called a “coincidence theory” of consonance (1984, 90–97). In these theories, the more two vibrations coincide, the more conso- nant...
Journal Article
Journal of Music Theory (2008) 52 (2): 273–320.
Published: 01 October 2008
... largely to definitions set forth in Krebs 1999. Harald Krebs describes two primary types of metric disso- nance, called displacement and grouping dissonance, which in general can be understood as resulting from techniques of phasing and hemiola, respectively...
Journal Article
Journal of Music Theory (2000) 44 (1): 100–126.
Published: 01 April 2000
...: Metric displacement [Tactverrückung] is for all practical purposes a very clear term.61 We must inquire into its nature, however, to find that these abnormal formations arise through simultaneous occurrence of the two different types of accent, for major and minor accentuation contradict one another...