Skip Nav Destination
Close Modal
1-20 of 211 Search Results for
mode
Follow your search
Access your saved searches in your account
Would you like to receive an alert when new items match your search?
1
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 (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 (2023) 67 (1): 141–169.
Published: 01 April 2023
.... To that end, this article pays particular attention to progressions of like-moded triads a major third apart, as demonstrated through analyses of music for the television series Bridgerton and the movie Ex Machina . [email protected] Copyright © 2023 by Yale University 2023 harmonic progression...
FIGURES
| View All (7)
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 (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 (2022) 66 (2): 255–261.
Published: 01 October 2022
..., Mode, and Notation in Early Medieval Music . Oxford : Oxford University Press . Barker Andrew , ed. 1984 –1989. Greek Musical Writings . 2 Vols. Cambridge : Cambridge University Press . Barker Andrew . 2007 . The Science of Harmonics in Classical Greece . New York...
Journal Article
Journal of Music Theory (2016) 60 (2): 281–294.
Published: 01 October 2016
... 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 numerals reflecting this
stance, and he gives harmonic loops the unwieldy...
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): 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 (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 (2009) 53 (1): 95–136.
Published: 01 April 2009
... . Translated by Russell Grigg. New York: Norton. Lewin, David. 1986 . “Music Theory, Phenomenology, and Modes of Perception.” Music Perception 3 : 327 -92. Liszka, James Jakob. 1989 . The Semiotic of Myth: A Critical Study of the Symbol . Bloomington: Indiana University Press. Longyear, Rey M...
Journal Article
Journal of Music Theory (2005) 49 (1): 141–180.
Published: 01 April 2005
..., 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, only to return to the home key at the end of the sung phrase,
as indicated by the GΩ of the final descent...
Journal Article
Journal of Music Theory (2013) 57 (1): 131–149.
Published: 01 April 2013
... 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, and dance...
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 (2023) 67 (1): 99–139.
Published: 01 April 2023
... from contemporaneous jazz practices by employing no head, chord progression, or lead sheet. Instead, four soloists improvise in succession on melodic material of their own devising, following a sequence of five modes that determine the pitch collection from which each section of the solo is derived...
FIGURES
| View All (28)
1
