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motion capture
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Journal Article
Journal of Music Theory (2021) 65 (1): 17–38.
Published: 01 April 2021
...Mari Romarheim Haugen Abstract This article studies the rhythm of Norwegian telespringar , a tradition with an intimate relationship between music and dance that features a nonisochronous meter; that is, the durations between adjacent beats are unequal. A motion-capture study of a fiddler and dance...
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Journal Article
Journal of Music Theory (2009) 53 (2): 227–254.
Published: 01 October 2009
... to be a broad project: modeling
“directed measurement, distance, or motion” in an unspecified range of
musical spaces. Lewin illustrates this general ambition with an equally general
graph—the simple arrow or vector shown in Figure 1. This diagram, he writes,
“shows two points s and t...
Journal Article
Journal of Music Theory (2000) 44 (2): 323–379.
Published: 01 October 2000
... reached through motion
upward or downward from C major.
Figure 21 represents the outward expansion of fifth space to “triadic”
space, constructed by adding to each fifth a major third, thus capturing
our intuition that these three tones are maximally close, reflecting their
E...
Journal Article
Journal of Music Theory (2019) 63 (2): 167–207.
Published: 01 October 2019
... that can be related to various acoustical tunings by a mapping into frequency space. This article adopts Hook s approach. 5 The continuous version is also an example of a continu- ous voice-leading space depicting the motion of a single voice. precise information about interval size. In fact, he goes...
Journal Article
Journal of Music Theory (2022) 66 (1): 93–128.
Published: 01 April 2022
... individual line, shown in Tables 7a–c , are then combined to create a composite fuzzy representation of the two-measure unit, shown in Table 8 . This fuzzy multilinear representation captures the possibilities of divergent motions within the passage by modeling the probability that these differing motions...
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Journal Article
Journal of Music Theory (2011) 55 (2): 253–264.
Published: 01 October 2011
...Patrick McCreless Patrick McCreless is professor of music theory in the Department of Music at Yale. His 2010 keynote address to the Society for Music Theory, “Ownership, in Music and Music Theory,” was recently published in Music Theory Online . Malin Yonatan Songs in Motion...
Journal Article
Journal of Music Theory (2024) 68 (1): 165–171.
Published: 01 April 2024
... and loudness but not the “dynamic state of the tone” (116). “Tonal movement is psychic, not bodily motion, a motion without a material substratum, nonspatial motion, spontaneous or self motion . . . the movement so heard is ‘emotion,’ not motion of bodies” (Zuckerkandl 1976 : 142, qtd. p. 117). Here I found...
Journal Article
Journal of Music Theory (2018) 62 (1): 145–154.
Published: 01 April 2018
... JOURNAL of MUSIC THEORY
capture everything in a tonal composition (no theory does), nor does it,
despite its comprehensiveness, deny the existence of supplementary analytic
approaches. As for Schachter, his background as a pianist and his training...
Journal Article
Journal of Music Theory (2005) 49 (1): 109–140.
Published: 01 April 2005
... the opposite approach and see what con-
sonant triad relations look like when we understand stepwise voice motion
Journal of Music Theory, 49:1
DOI 10.1215/00222909-2007-003 © 2008 by Yale University
109
and common-tone retention to be strictly...
Journal Article
Journal of Music Theory (2020) 64 (1): 63–103.
Published: 01 April 2020
... creates blocks of two chords, brack- eted in the figure. Each block is related to the next by t3 because, of course, 1 + 2 = 3; this simple statement of arithmetic (actually mod-7 arithmetic) gives rise to the transformational identity t1t2 = t3, which characterizes the pattern of generic root motion...
Journal Article
Journal of Music Theory (2021) 65 (1): 1–2.
Published: 01 April 2021
... attention to the dancing bodies that they were intended to set in motion. It is reasonable to ask why. One hypothesis is that music theorists, so comfortable with the immateriality of tonality and meter, are uncomfortable with the corporeality of dance. Perhaps dance is too low: below the aristocracy...
Journal Article
Journal of Music Theory (2015) 59 (2): 273–320.
Published: 01 October 2015
... three kinds
of motion between ordered pairs.64 Group structures for spaces A and B are
captured in Figure 14 by two graph representations for each of the spaces:
one of the graphs combines the generators p/f, and the other combines...
Journal Article
Journal of Music Theory (2017) 61 (1): 1–28.
Published: 01 April 2017
...
want to suggest an alternative way of understanding Kurth’s approach: that
he endeavors to document how he perceives Bruckner’s symphonies, that is, the
process by which he captures both motion and an image of motion, or, refer-
ring to the epigraph above, how “forming becomes form.” In placing...
Journal Article
Journal of Music Theory (2022) 66 (2): 280–290.
Published: 01 October 2022
.... But BMA's reduction process is not based on traditional contrapuntal/harmonic syntax. Instead, Auerbach aims to capture “auditory salience.” He does not formally define this concept, except that it is grounded in “cognitive reality” and involves “prioritizing events that stand out in register, rhythm...
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Journal Article
Journal of Music Theory (2011) 55 (1): 43–88.
Published: 01 April 2011
...
GOAL from a different SOURCE. In both cases, the sense of directed, sys-
tematic motion toward a goal is nicely captured on the contextual-inversion
space.
RI-chains, interval multicycles, Tonnetze, and contextual-inversion...
Includes: Supplementary data
Journal Article
Journal of Music Theory (1999) 43 (2): 359–371.
Published: 01 October 1999
...
powerfully sustained study is that, in writing about meter as rhythm—
music as “motion”—the tensions between prose statements and musical
events tend to converge on a shared ambiguity. Becoming and Being can-
not truly be separated, and Hasty’s writing is an eloquent demonstration
of a need to resist...
Journal Article
Journal of Music Theory (2017) 61 (1): 29–57.
Published: 01 April 2017
... of arpeggiation.” Many of these cases involve a downward arpeggiation
of a triad from fifth to root that connects two different harmonies. Such
arpeggiations occur often as part of a motion from I to IV or from V to I, as
shown in Figure 1, though other scale-degree variants are possible. In every
case...
Journal Article
Journal of Music Theory (2015) 59 (1): 121–181.
Published: 01 April 2015
... to the pitch class E (the first
note); it moves gradually into the dominant region and then back to the tonic
region at the recapitulation. This analysis reveals another interesting feature
to the tonal plan by showing a consistent motion in a direction downward...
Journal Article
Journal of Music Theory (2001) 45 (2): 457–469.
Published: 01 October 2001
...
that, within an Ursatz, the tonic Stufen at the beginning and end sound
stable, while the intervening dominant Stufe sounds unstable: “In that the
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two tonics begin and end the motion, and in that the V has a transitional
function, it would seem appropriate...
Journal Article
Journal of Music Theory (2007) 51 (2): 187–210.
Published: 01 October 2007
... in idiosyncratic “hexatonic moments” that conjoin the song’s alternat-
ing tonic triads. This interpretation provides a strong metaphor for the way
that Mörike’s flower abstractly fuses opposite poles. Moreover, the narrator’s
struggle to capture the flower’s...
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