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Journal Article
Journal of Music Theory (2004) 48 (2): 219–294.
Published: 01 October 2004
...Dmitri Tymoczko SCALE NETWORKS AND DEBUSSY Dmitri Tymoczko It is frequently observed that over the course of the nineteenth century the chromatic scale gradually supplanted the diatonic.1 In earlier periods, non-diatonic tones were typically understood...
Journal Article
Journal of Music Theory (2006) 50 (2): 143–179.
Published: 01 October 2006
... motivic harmony gains meaning through its particular tonal function, but each also exists within a network of associative connection based more generally on chord identity. Harmonic Cross-Reference and the Dialectic of Articulation and Continuity in Sonata Expositions of Schubert and Brahms...
Journal Article
Journal of Music Theory (2009) 53 (2): 191–226.
Published: 01 October 2009
... that underscore networks of motivic parallelisms, (4) long-range exchanges employed as persuasive and powerful organizing tools, (5) surface chromatic “chaos” explained by underlying exchanges, and (6) the relationship between voice exchanges and a relatively unexplored nuance of tonal analysis—the inverted...
Journal Article
Journal of Music Theory (2013) 57 (1): 1–45.
Published: 01 April 2013
... for the analysis of this repertoire. To this end, an alternative to standard theories of genre is advanced, one that draws on actor-network theory to destabilize categories too often conceived as fixed, solid, and binding. This revised theory of genre is applied to Gérard Grisey’s six-part cycle, Les espaces...
Journal Article
Journal of Music Theory (2016) 60 (2): 213–262.
Published: 01 October 2016
..., and Shostakovich. Diatonicity, one of the harmonic qualities, is a basic concern for all of these composers. Phase spaces and harmonic qualities also help to explain the “scale-network wormhole” phenomenon in Debussy and Ravel and better pinpoint the role of octatonicism in Stravinsky's and Ravel's music. Special...
Journal Article
Journal of Music Theory (2018) 62 (1): 85–118.
Published: 01 April 2018
... with the thematic process, whereby the network of pitch relations becomes drawn into the unfolding of the work’s motivic logic. It is argued that, under Sibelius’s extreme the-maticism, melodic organization intersects with macroharmony and scale, blurring the distinction between hierarchical levels of pitch...
Journal Article
Journal of Music Theory (2005) 49 (1): 1–43.
Published: 01 April 2005
... itself formally in the construct of a “network of networks,” in which a Journal of Music Theory, 49:1 DOI 10.1215/00222909-2007-001  © 2008 by Yale University 1 network repeats structural features of the networks it contains in its nodes...
Journal Article
Journal of Music Theory (2006) 50 (1): 111–127.
Published: 01 April 2006
... . “Reconsidering Klumpenhouwer Networks.” Music Theory Online 13/2 . Cho, Hyunree. 2007 . “Lewin via Husserl.” Unpublished manuscript. Clough, John. 1989 . Review of Generalized Musical Intervals and Transformations, by David Lewin. Music Theory Spectrum 11 : 226 –31. Cone, Edward. 1974...
Journal Article
Journal of Music Theory (2005) 49 (1): 109–140.
Published: 01 April 2005
... (a) (b) Figure 1. Product networks of the (a) parsimonious and (b) extravagant groups acting on the consonant triads 118 concern for how exactly the third voice moves by showing all of the pos- sible notes it may try against the two sustained notes. The notation...
Journal Article
Journal of Music Theory (2005) 49 (2): 333–357.
Published: 01 October 2005
... . “The Consecutive-Semitone Constraint on Scalar Structure: A Link Between Impressionism and Jazz.” Intégral 11 : 135 –79. ———. 2004 . “Scale Networks and Debussy.” Journal of Music Theory 48 : 219 –94. Waters, Keith. 2000 . “What Is Modal Jazz?” Jazz Educator's Journal 33/1 : 53 –55...
Journal Article
Journal of Music Theory (2018) 62 (2): 279–338.
Published: 01 October 2018
... Dave . 2002 . “ Perle’s Cyclic Sets and Klumpenhouwer Networks: A Response .” Music Theory Spectrum 24 / 2 : 246 – 56 . Headlam Dave . 2008 . “ Introduction .” Theory and Practice 33 : 1 – 46 . Lambert Philip . 2002 . “ Isographies and Some Klumpenhouwer Networks...
Journal Article
Journal of Music Theory (2011) 55 (1): 1–41.
Published: 01 April 2011
... with each word, and since each T-voice alternates with each syllable in first position above and below the corresponding M-voice, any word succession must be realizable by a network in the form of one of the two graphs shown in Figure 9, which...
Journal Article
Journal of Music Theory (2013) 57 (2): 373–381.
Published: 01 October 2013
... and within new environments across Central and Eastern Europe, they took on as many new traits in content and form as they retained. By meticulously comparing the contents of these many Hollandrinus texts, our two authors have been able to distinguish an intricate network of levels and stages...
Journal Article
Journal of Music Theory (2015) 59 (1): 183–190.
Published: 01 April 2015
...- tual criteria are “the basis for . . . transformational networks” (33). I wish that the distinction between the transformational approach and Hanninen’s frame- work (the topic of her last chapter) had been addressed earlier. Hanninen explicitly refers...
Journal Article
Journal of Music Theory (2015) 59 (1): 121–181.
Published: 01 April 2015
... geometries is much richer, a con- tinuous geometry as opposed to a discrete network. Yet voice-leading geo­ metries also differ fundamentally from the Tonnetz in what it means for two chords to be close together: in the Tonnetz, nearness is about having a large...
Journal Article
Journal of Music Theory (2011) 55 (1): 89–146.
Published: 01 April 2011
... One way to solve the puzzle is to imagine the monk walking from both direc- tions at once. Figure 1 illustrates the integration network, or collection of interconnected mental spaces, involved in such an act of imagination. The top two circles, input spaces 1 and 2, are mental representations...
Journal Article
Journal of Music Theory (2010) 54 (2): 143–177.
Published: 01 October 2010
.../1 : 1 -43. Lambert, Philip. 2002 . “Isographies and Some Klumpenhouwer Networks They Involve.” Music Theory Spectrum 24/2 : 165 -95. Lewin, David. 1987 . Generalized Musical Intervals and Transformations . New Haven: Yale University Press. ———. 1995 . “Generalized Interval Systems...
Journal Article
Journal of Music Theory (2003) 47 (1): 103–123.
Published: 01 April 2003
... 1. Progression vectors Consider the pcset pair (X, Y), which models a progression from har- mony based on X to harmony based on Y. We can characterize this pair as a network of pc-to-pc transitions, each of which contributes a directed pc interval to the progression. Example 1 illustrates...
Journal Article
Journal of Music Theory (2011) 55 (1): 43–88.
Published: 01 April 2011
... and Elliott Carter’s recent music, mations, each of which changes one object into see Roeder 2009b and Hooper 2009. For a valuable histori- another in the same family. A network is a directed cal overview of transformation and musical space, see graph, satisfying certain...
Includes: Supplementary data
Journal Article
Journal of Music Theory (2014) 58 (2): 257–263.
Published: 01 October 2014
..., though equivalent under ordinary pitch-class transposition, are dis- tinct under transposition in the scale-degree domain. Chapter 3 offers an overview of transformational networks and graphing techniques—topics that lack a comprehensive treatment in GMIT and have since been the topic...