Search Results for modal

...Nathan L. Lam This article develops the notion of modal spelled pitch class by combining Julian Hook’s theory of spelled heptachords and Steven Rings’s heard scale degree. Modal spelled pitch class takes the form of an ordered triple that includes the key signature, the generic pitch classes...

... broadly in agreement with Yust about the problems with the work that tonal and tonality have been involved with, my own work led me toward more upset with tonal 's frequent opposite: modal . What is “modal music”? To riff on Tymoczko's proposal of defining tonal as simply “not atonal,” 2 one...

... considered rather routine. Through scrutiny of modal references and explanatory rhetoric within the treatise, this study corrects some modern readings of Hucbald's teaching on mode and offers a new assessment of the relationship between modal lore and venerable Boethian theory in Hucbald's theoretical...

..., modality, chord succession, and harmonic function. In demonstrating these concepts, four categories of tonicization are illustrated: primary diatonic , in which a tonicization employs only diatonic chords of the mode; primary chromatic , which occurs due to chromatic inflection or modal borrowing...

... qualities to single chordal entities but are also implicated in strategies of harmonic progression, relatedness, complementarity, and contrast. These analytical goals prompt a reconceptualization of chordal elements, which are understood as combinations of pitch class and modal quality rather than simply...

... appeared first in the eleventh century. Detailed analysis and comparison of the music (and theory) of Hermannus Contractus (1013-1054) with Hildegard's demonstrates a shared emphasis on Hermannus's modal nodes of final, fifth, and octave. Further analyses of antiphons from the later Middle Ages for Saints...

..., harmonic functions, or pitch centricity. The Dasian space is a closed, nonoctave repeating scalar cycle, where each element is identified by a unique coordination of pitch class and modal quality. The dual description of each element enables both the specification of location in a given cycle...

... . “Bitonality, Mode, and Interval in the Music of Karol Szymanowski.” Journal of Music Theory 29 : 61 –84. Miller, Ron. 1996 . Modal Jazz: Composition and Harmony . 2 vols. Rottenburg: Advance Music. Perle, George. 1995 . The Right Notes . Stuyvesant, NY: Pendragon. Porter, Charles. 1989–90...

... distinguishes the theoretical concept of the confinalis as used from the ninth through fifteenth centuries—“a note in the gamut five steps above the finalis to which entire compositions could be transposed”—from a later concept of the confinalis —the fifth step of the modal octave and an alternative...

..., as a means of 7 For further discussion of Schubert’s use of modal mix- ture, see Tovey 1928 and Beach 1998. 58 JOURNAL of MUSIC THEORY suggesting that his use of mixture in the Klavierstücke appears to be reflective of a more general approach...

... of California Press . McClary Susan . 2004 . Modal Subjectivities: Self-Fashioning in the Italian Madrigal . Berkeley : University of California Press . Mengozzi Stefano . 2010 . The Renaissance Reform of Medieval Music Theory: Guido of Arezzo between Myth and History . Cambridge...

... of the degree) and extensive (because of the number Reviews    Doll on Moore 289 of times harmony figures in the discussions).7 Harmony first appears as a major topic in the “Form” chapter, where the author posits a “harmonic modal system” in which...

... . New York : Oxford University Press . Powers Harold . 1992 . “ Modality as a European cultural construct .” In Secondo convegno europeo di analisi musicale. Atti , edited by Dalmonte Rossana and Baroni Mario , 207 – 19 . Trento, Italy : Università degli Studi di Trento...

... . 1940 . English Song-Books, 1651–1702 . London : Oxford University Press . Dodds Michael R. 1998 . “ Tonal Types and Modal Equivalence in Two Keyboard Cycles by Murschhauser .” In Tonal Structures in Early Music , edited by Judd Cristle Collins , 341 – 72 . New York...

... Middle Ages to 1300, ed. Richard Crocker and David Hiley, 485–556. Oxford: Oxford University Press. 1990. “ Modal Tenors and Tonal Orientation in Motets of Guillaume de Machaut.” In Studies in Medieval Music: Festschrift for Ernest Sanders...

... Graeme Boone’s analysis of modal ambiguity in the Grateful Dead’s “Dark Star” provides a summary for some of the problems en- countered in the weaker chapters. After providing a detailed study of shifting modality and motivic structure for a live performance of the song, as released on 1970’s Live...

... harmony and uses so-called retrogressive motions like V–IV, although these characteristics are also found in nineteenth-century concert music (Cutler 2016 ; Schmalfeldt 2022 ; Stein 1983 ). Dmitri Tymoczko asserts that harmonic motion in rock music can be either tonal or modal, conventionally...

... . Harley John . 2005 . William Byrd's Modal Practice . Burlington, VT : Ashgate . Harman Alec R. , ed. 1952 . A Plain and Easy Introduction to Practical Music. New ed. of A Plaine and Easie Introduction to Practicall Musicke , by Morley Thomas . London : Dent . Harrison...

..., trans. Cornelius Cardew, 189 –204. New York: Harcourt, Brace, and World. Brinkman, Alexander. 1980 . “The Melodic Process in J. S. Bach's Orgelbüchlein.” Music Theory Spectrum 2 : 46 –73. Burns, Lori. 1995 . Bach's Modal Chorales . Harmonologia Series 9. Stuyvesant, NY: Pendragon...