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Journal Article
Journal of Music Theory (2005) 49 (1): 1–43.
Published: 01 April 2005
...Henry Klumpenhouwer ASPECTS OF DEPTH IN K-NET ANALYSIS WITH SPECIAL REFERENCE TO WEBERN’S OPUS 16/4 Henry Klumpenhouwer Introduction A prominent...
Journal Article
Journal of Music Theory (2018) 62 (2): 279–338.
Published: 01 October 2018
... . “ Arrays and K-Nets: Transformational Relationships within Perle’s Twelve-Tone Tonality .” Indiana Theory Review 23 : 69 – 97 . Gauldin Robert . 2004 . “ The Theory and Practice of Chromatic Wedge Progressions in Romantic Music .” Music Theory Spectrum 26 / 1 : 1 – 22 . Headlam...
Journal Article
Journal of Music Theory (2010) 54 (2): 143–177.
Published: 01 October 2010
... . “ Uniform Triadic Transformations .” Ph.D. diss., Indiana University. ———. 2002b . “Uniform Triadic Transformations.” Journal of Music Theory 46 : 57 -126. Klumpenhouwer, Henry. 2005 . “Deep structure in K-Net Analysis with Special Reference to Webern's Opus 16, 4.” Journal of Music Theory 49...
Journal Article
Journal of Music Theory (2016) 60 (2): 295–305.
Published: 01 October 2016
...- tion has to do with novel or eccentric analyses. Is it plausible that the chorale in Schoenberg’s Klavierstück op. 11/2 “has the job” of presenting the patterns specified by David Lewin’s famous K-net analysis of the passage (Lewin 1994)? If not, what is one...
Journal Article
Journal of Music Theory (2005) 49 (1): 45–108.
Published: 01 April 2005
... skewed T5 or T6. This interpretation would produce voices that coin- cide with the registral lines. Another alternative would be to invoke Klumpenhou- wer networks, in which case the two chords would be related at hyper-T3 (the details are left to the reader). This K-net interpretation...
Journal Article
Journal of Music Theory (2006) 50 (1): 111–127.
Published: 01 April 2006
... orthography. 118 Journal of Music Theory obliges one to explore and construct multiple apperceptual contexts for any given sounding phenomenon; there is no single GIS or transformational net- work that is appropriate to a given musical stimulus.15 Lewin...
Journal Article
Journal of Music Theory (2005) 49 (2): 333–357.
Published: 01 October 2005
... in each network, only half (or six) of the A collec- tions appear in each network. The upper network contains the A collec- tions with odd numbers; the lower network contains the A collections with even numbers. Figure 1 shows one path that connects the two net- works; this provides only one...
Journal Article
Journal of Music Theory (2020) 64 (1): 137–143.
Published: 01 April 2020
... contemporaries and graphs net- works for contrapuntal keyboard works. The permutations of triple invertible counterpoint have been studied before, but in De Souza s framework it mat- ters whether two voices in three-part counterpoint are played by the left hand or the right hand. He goes on to show, using...
Journal Article
Journal of Music Theory (2013) 57 (2): 433–449.
Published: 01 October 2013
... R. T. . 2010 . Tombeau: Facsimilés de l’épure et de la première mise au net de la partition . New York : Schott . Campbell E. 2010 . Boulez, Music and Philosophy , Cambridge : Cambridge University Press . Deliège C. 1988 . “ Moment de Pierre Boulez, sur l’introduction...
Journal Article
Journal of Music Theory (2003) 47 (1): 103–123.
Published: 01 April 2003
...-to-pc net- works of two pcset pairs. Another likely factor in any more comprehen- sive measure of pcset-pair similarity is the ic content of the constituent pcsets. That is, if we are comparing the progressions P = (S1,T1) and Q=(S2,T2), then in addition to calculating ANGLE(P, Q), we might mea...
Journal Article
Journal of Music Theory (2010) 54 (1): 25–36.
Published: 01 April 2010
.... Even Schoenberg, as the young Pierre Boulez claimed in a notorious essay, was “dead”: “What then was his main Lawrence Kramer    Music Recomposed 27 ambition once a chromatic synthesis—or safety net—had been established by serialism...
Journal Article
Journal of Music Theory (2009) 53 (2): 227–254.
Published: 01 October 2009
.../issues/mto.05.11.4/mto.05.11.4.tymoczko.pdf . ____. 2006 . “The Geometry of Musical Chords.” Science 313 : 72 –74. ____. 2007. “Recasting K-nets.” Music Theory Online 13/3. http://mto.societymusictheory.org/issues/mto.07.13.3/mto.07.13.3.tymoczko.html . ____. 2008a . “Lewin, Intervals...
Journal Article
Journal of Music Theory (2016) 60 (2): 181–212.
Published: 01 October 2016
...-nets” of Martins 2011, music. Perhaps the best-known four-voice aligned cycle 131–35. Interval cycles and inversional symmetry form the that consists of four different intervals is the 〈1,20,30,40〉- foundation for Perle’s compositional method of “twelve- cycle from act II, scene 3 of Berg’s...
Journal Article
Journal of Music Theory (2011) 55 (1): 1–41.
Published: 01 April 2011
... the constraints of the Passio Evangelist texture. Each chord is listed as a series of pitch classes, 6  The idea of classifying pitch-class sets by their shared define the sorts of isographies employed in K-net theory, K-net representation is explored in Stoecker 2002 and because u and d...
Journal Article
Journal of Music Theory (2013) 57 (1): 131–149.
Published: 01 April 2013
... become before it is impossible to accept them as variations of the same basic pattern? While such matters are always some­ what subjective, it is possible that the net was cast a little too widely in this particular analysis. The author is on firmer ground, though, with his inter­ pretations...
Journal Article
Journal of Music Theory (2003) 47 (1): 155–214.
Published: 01 April 2003
... analysis with the structural analysis of “remnant” tonal structures, such as the major/minor third. As the analysis of specific pitch-interval configura- tions in Section V below will show, this method can be used to describe a fluid system of perpetual variation that is achieved through a close net...
Journal Article
Journal of Music Theory (2021) 65 (1): 81–106.
Published: 01 April 2021
... are already away from home execute a dos-à-dos with the nearest available dancer. By the end of the second figure, everyone has moved away from home. The third diagram box has no net effect on the dancers' positions, but box IV brings everyone home in the following manner: those dancers at the ends...
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Journal Article
Journal of Music Theory (2015) 59 (1): 121–181.
Published: 01 April 2015
... be constructed. Yet it may be a consideration, since the resulting net- work may help in interpreting the regions, and the links of this network may correspond to meaningful intervallic axes. Borrowing Lewin’s (2007) famil- iar term, we can call these transformational axes...
Journal Article
Journal of Music Theory (2003) 47 (2): 273–304.
Published: 01 October 2003
... Octave, sondern ihre eigene Stelle für sich. (Kirnberger 1771–79, I:31) 13. Marpurg 1776, cited in Baker 1988. 14. Wegen dieser Kraft den Ton anzukündigen, wurden die drey Sayten der Tonleiter die Terz, Quinte und Octave die wesentlichen Sayten (Chordae essentiales) genen- net. (Kirnberger...
Journal Article
Journal of Music Theory (2003) 47 (2): 225–272.
Published: 01 October 2003
... in canon at the lower fifth, but with a one-half-measure time interval; the lower canon begins a half-measure after the upper. The net result is outer voices mov- ing in parallel tenths, an alto moving in contrary motion with the outer voices, and a tenor who, because of the half-measure time interval...