Search Results for might

...Justin Hoffman Recent music-theoretical research has proposed two ways of mapping the pitch-class set universe. Fourier spaces, constructed by Quinn, relate sets to one another based upon their composition from members of interval cycles, reflecting what might be called “harmonic quality.” Voice...

..., since some musical spaces have natural boundaries. It also notes that there are spaces, including the familiar pitch-class circle, in which there are multiple paths between any two points. This leads to the suggestion that we might sometimes want to replace traditional pitch-class intervals with paths...

... of this sort. The essay ends with a brief discussion of Cavell's response to skepticism, in which I propose that philosophy and art might be farther apart than Cavell believes. Dmitri Tymoczko is a composer and music theorist who teaches at Princeton University. His book A Geometry of Music...

... that Les espaces acoustiques affords but also suggests how music analysis might better address the heterogeneous contexts and multiple listener competences that this and other musics engage. Eric Drott is associate professor of music theory at the University of Texas at Austin. His book, Music...

... of the modernist project while rejecting musical experiments that went too far in the direction of abstraction, opacity, or self-indulgence. From this point of agreement, differences emerge between Cavell and Deleuze over exactly how philosophy might prescribe a virtuous, sober, or ethical version of musical...

... into the repetition such as a large interval or a chromatic note. A perceptual model is proposed, showing how the probabilities of intervals, scale degrees, and repetition might be calculated and combined. I am grateful to David Huron for making available to me his Humdrum encoding of the Barlow and Morgenstern...

...Jonathan Guez Despite differences in critical alignment, epistemological underpinnings, and reportorial coverage, studies of sonata forms nevertheless tend to share one feature: they devote the least amount of space to recapitulations. Two presuppositions might explain this neglect: (1...

... that might otherwise appear to have little in common—a particularly appealing prospect for recently composed repertoire. In subscribing to Nicholas Cook's (2013) recharacterization of the score as a “script” that is interpreted, supplemented, and molded in performance, this research encourages the treatment...

... dancers might refer to as “working in 2s against 3s,” or metrical crossing. Another kind of metric conflict, a displacement or syncopation, arises when there is a shift of phase, involving an exchange between beats and offbeats. From the standpoint of a military marcher, this might involve shifting...

... one make sense of so unreliable an account of who’s doing what, or even who ‘they’ might be? And is this agential chaos somehow part of Beethoven’s cre- ative ‘vision Of course, as a reader of this journal you—the real you, that is—are quite...

... that meaning might be (Hatten 1994: 1). So, what is virtual agency? Virtuality is commonly associated with digi- tal media, cybernetics, science fiction, and posthumanism (Hayles 1999). As virtual-reality technology becomes more powerful and ubiquitous, it also fea- tures prominently in popular literature...

... of scale-degree patterns in Gjerdingen’s schemata suggests that they might be called “scale-degree schemata,” and I will do so here.) Many galant pieces, Gjerdingen argues, are entirely or almost entirely constructed from combinations of these conventional patterns...

...,” which is also a feature of paradigmatic analysis. Directed change is an aspect of “continuity,” which comprises stasis (rep- etition, cyclicity), transformation (through-composition), rupture (alterna- tion), and sectionality, each of which might...

... of 487 topics is any indication, then we might infer that the purview of aesthet- ics is not only broad and all-encompassing but potentially boundless. And this is so because aesthetics exists not at a first but a second level; not at the level of language but metalanguage. As disciplinary practice...

...” which deprive the com- position in question of any context that might be deemed cultural. At the same time, most analysts are sensitized to question how—in any worth- while manner—“the creativity, spontaneity, and novelty of actual musi- cal experience” can be prevented from contributing...

... of the physiology of its making. In what follows I shall outline some of the ways physiology, the study of bodily function, inhabits how we talk and think about music, both directly and metaphor- ically. We shall examine what a physiological perspective might reveal about different types of musical spaces...

... in their tonalities. Thomas Christensen ( 2019 : 183–208) observes that the explicit racist ideology expressed in Histoire générale is a relatively late development in Fétis's writings. 2 Yet while we might like to think that this is a case of an otherwise innocent concept of tonality being seduced...

... Sonata no. 2 in E-flat major, op. 120/2, i, start of development In the A-major Violin Sonata, op. 100, the piano is presented an octave higher (see Examples 4a , 4b , again shadowing the opening for just two measures). In these cases an inattentive listener might, at a stretch, assume...

..., Music Theory, and Liberal-Progressive History 285 For starters, one might ask (since it is by no means immediately clear from Helmholtz’s own words), just what was this “freely chosen principle” of musical practice? We can fairly conclude that it was not strictly harmonic in character...

...—among many other things, it is one of the volume’s funniest essays. The attention to gender and sexuality in the essay might surprise some readers, but the aggregate of SMWT makes clear that this was not an iso- lated concern. Such issues figure prominently in all three...