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Journal Article
Journal of Music Theory (2008) 52 (1): 13–40.
Published: 01 April 2008
...Sarah Fuller Hucbald of St. Amand's treatise Musica took shape in the late Carolingian era in a time of intense and independent music-theoretical activity. Hucbald has been recognized as a pioneer who brought elements from Greek music theory to bear upon plainsong, but his view of mode has been...
Journal Article
Journal of Music Theory (2005) 49 (2): 333–357.
Published: 01 October 2005
... . “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...
Journal Article
Journal of Music Theory (2010) 54 (1): 91–105.
Published: 01 April 2010
...Richard Beaudoin Examples of borrowing strategies in both musical and philosophical texts are outlined. Cavell's position on quotation as `being the other to one's self' is explored. Three cases of musical versus philosophical modes of borrowing are surveyed: Cavell borrowing Thoreau versus Ignaz...
Journal Article
Journal of Music Theory (2019) 63 (1): 1–34.
Published: 01 April 2019
..., 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...
Journal Article
Journal of Music Theory (2020) 64 (2): 241–281.
Published: 01 October 2020
... (letter names without accidentals) of the tonic, and the note in question. From there one can infer other information, such as scale degree, mode, and la -minor solfège. In the construction of modal spelled pitch class, la -minor solfège is of equal importance to do -minor solfège, and subsequent analyses...
Journal Article
Journal of Music Theory (2006) 50 (2): 253–275.
Published: 01 October 2006
... of the 5-6 cycle are separately considered. The 5-phase trajectories are classified as diatonic, idiosyncratic, or obstinate. Despite its long history and current dominance, the mode of analysis based on Roman numerals and tonicizations is eschewed for sequential progressions. Instead, the connective role...
Journal Article
Journal of Music Theory (2008) 52 (1): 123–149.
Published: 01 April 2008
... and Härtel. Bruning, Fr. Eliseo O.F.M. 1951 . Cantuale Romano-Seraphicum . 3rd ed. Paris: Desclée. Cleary, Gregory. 1912. “St. Roch.” In The Catholic Encyclopedia. Vol. 13. New York: Appleton. http://www.newadvent.org/cathen/13100c.htm . Cohen, David E. 2002 . “Notes, Scales, and Modes...
Journal Article
Journal of Music Theory (2002) 46 (1-2): 57–126.
Published: 01 October 2002
... of a sign (+ or −, indicating whether the transformation preserves or reverses mode) and two trans- position levels (integers mod 12: one for major triads, the other for minor, indicating the interval through which the root of a triad is transposed). For example, the leittonwechsel is represented as L...
Journal Article
Journal of Music Theory (2016) 60 (2): 281–294.
Published: 01 October 2016
.... Syncopation by dis- placement is rightly said to be so common as to be expected (the normative backbeat is one obvious case), and cross-rhythms are considered categorically different in their conspicuousness. Moore argues for analyzing harmony according to the diatonic jazz modes, with his roman...
Journal Article
Journal of Music Theory (2011) 55 (2): 271–281.
Published: 01 October 2011
... mode, which becomes apparent early on in his analysis of the opening episode of Aspro core, Willaert’s best-known madrigal (see Example 3). The opening two verses of the text, in McKinney’s translation, provide a textbook example of the “harsh vs. sweet” opposition that is central...
Journal Article
Journal of Music Theory (2002) 46 (1-2): 347–363.
Published: 01 October 2002
... not, in any event, write that mixture was “one way that Schenker accounted for chromaticism”—those are Rothstein’s words, not mine (pace And with one qualification (to which I will return in a moment), the explanation I give in the next sentence of the well- known table of the mixed major/minor mode...
Journal Article
Journal of Music Theory (2002) 46 (1-2): 364–368.
Published: 01 October 2002
... in the next sentence of the well- known table of the mixed major/minor mode in Harmonielehre is the same as the one Rothstein offers in correction.1 He then writes: Every note in Schenker’s expanded C-system derives from some C- scale—whether pure major, pure minor, or Phrygian—so in Schenker’s...
Journal Article
Journal of Music Theory (2009) 53 (1): 95–136.
Published: 01 April 2009
... and gloomy augmented-sixth chord, calling into question everything that has come before (Example 2). A recitative invades the scene, while the minor mode takes control, leading to a slow pronouncement in the low register dur...
Journal Article
Journal of Music Theory (2005) 49 (1): 141–180.
Published: 01 April 2005
... on which the melodies operate: Orpheus’s descending minor third from A≤ to F on “Furie, Larve,” Rousseau argued, could belong to either E≤ major or minor, but with “ombre sdegnose” at m. 26 Orpheus reaches C≤, which indicates a momentary change from the key of E≤ major to the parallel minor mode...
Journal Article
Journal of Music Theory (2013) 57 (1): 131–149.
Published: 01 April 2013
...). In chapters 2 and 3 the author presents six “criteria for analysis” that encapsulate the salient, perceptible features of romantic music: topics (topoi), the beginning-middle-ending paradigm, high points, periodicity, the three modes of enunciation (speech, song...
Journal Article
Journal of Music Theory (2012) 56 (1): 53–86.
Published: 01 April 2012
... in Melodic and Non-melodic Lines .” Paper presented at the 11th International Conference on Music Perception and Cognition , Seattle . ———. 2011 . “ A New Mode l of Perceived Information Content in Melodic and Non-melodic Lines .” Paper presented at the meeting of the Society for Music Perception...
Journal Article
Journal of Music Theory (2013) 57 (2): 287–320.
Published: 01 October 2013
... important distinctions I would make in such a perspective. To one degree or another, three different modes of discourse occur in every thoroughbass treatise. Of course, the most important is instruction in thoroughbass performance and, to a lesser extent, instruction in composition. Francesco...
Journal Article
Journal of Music Theory (2008) 52 (1): 151–158.
Published: 01 April 2008
... recently, of Inside the Offertory: Aspects of Chronology and Transmission (2009). 2008 2008 Atkinson, Charles. 2008 . The Critical Nexus: Tone-System, Mode, and Notation in Early Medieval Music . New York: Oxford University Press. Bernhard, Michael, Bernhold Schmid, and Calvin Bower...
Journal Article
Journal of Music Theory (2020) 64 (2): 147–201.
Published: 01 October 2020
... and triad that is, when they applied a major/minor binary to modal theory. As a result, in Michael R. Dodds s (1998, 1999, forthcoming) formulation, musicians reconceptualized tonal space as twelve transpositions of two modes, rather than two transposi- tions of twelve. Dodds shows how depictions of tonal...
Journal Article
Journal of Music Theory (2006) 50 (1): 65–76.
Published: 01 April 2006
... Steuerlein’s melody of only four phrases. Its range is C4–D5, the normal ambitus of the dorian mode; its recit- ing tone is A. The phrases are paired in terms of rhythm, and phrase three is a varied repetition of phrase one. Cadence points are on the normal pitches...