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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 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 of Music Theory (2000) 44 (2): 323–379.
Published: 01 October 2000
... such phe- nomena as cause and effect, motion, force, energy, and balance through the ways in which they play a part in our own goal-directed actions. This learning is captured in the form of patterns that Johnson calls image schemas. According to Johnson, we use image schemas to make sense of our...
Journal of Music Theory (2019) 63 (2): 167–207.
Published: 01 October 2019
... 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 as far as to posit the thesis that certain...
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 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 of Music Theory (2018) 62 (1): 145–154.
Published: 01 April 2018
... of this review. Journal of Music Theory 62:1, April 2018 DOI 10.1215/00222909-4450721 © 2018 by Yale University 145 146 JOURNAL of MUSIC THEORY capture everything in a tonal composition (no theory does), nor does it, despite its...
Journal of Music Theory (2020) 64 (1): 63–103.
Published: 01 April 2020
..., 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 in this sequence. The notation t1t2 denotes the com- posite transformation t1, then t2, whose combined effect...
Journal of Music Theory (2005) 49 (1): 109–140.
Published: 01 April 2005
... 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 separate properties. I...
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 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 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 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 of Music Theory (1999) 43 (2): 359–371.
Published: 01 October 1999
... of writing about musical compositions in a theoretically informed manner are considerable. The rich and productive paradox at the heart of Christopher Hasty’s powerfully sustained study is that, in writing about meter as rhythm— music as “motion”—the tensions between prose statements and musical...
Journal of Music Theory (2017) 61 (1): 29–57.
Published: 01 April 2017
... 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, the arpeggiation unfolds the triad heard at the end...
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 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...
Journal of Music Theory (2001) 45 (2): 457–469.
Published: 01 October 2001
... unstable (pp. 37–38; ex. 1.12). Second, he observes that, within an Ursatz, the tonic Stufen at the beginning and end sound stable, while the intervening dominant Stufe sounds unstable: “In that the ™ two tonics begin and end the motion, and in that the V has...
Journal of Music Theory (2017) 61 (1): 59–109.
Published: 01 April 2017
... the manifold of sensory representations; that geometry is necessary because a geometric axiom or proof “signifies a rule of the synthesis of the imagination with regard to pure shapes in space” (Kant 1998, 273; A141/B180) and thereby enunciates an exceptionless principle of the configuration and motion...
Journal of Music Theory (2021) 65 (2): 239–285.
Published: 01 October 2021
... not. This distinction underlies a dyadic approach to categorizing contrapuntal uses of chromatic semitones, providing an alternative to prevalent classifications by interval of triadic root or bass motion. The article distinguishes three chromatic semitone types: (1) normative/expressive, (2) chromatically deflected...
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