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Journal of Music Theory (2016) 60 (1): 23–50.
Published: 01 April 2016
... disposition of certain members of a given cseg yet remains perfectly true to that of others. This article addresses the analytical pitfalls of the integer-based contour labeling system by instead adopting a normalized scheme that maps pitches onto evenly distributed subsets of the real numbers from 0 to 1...
in Periodicity-Based Descriptions of Rhythms and Steve Reich's Rhythmic Style > Journal of Music Theory
Published: 01 October 2021
Figure 33. Spectra for the signature rhythm and rhythms from Six Pianos , Eight Lines , Sextet iv, Electric Counterpoint ii, and the “Difficult” canon from The Desert Music , proportionally scaled. Values are normalized by power (the sum of squared magnitudes). Figure 33. Spectra More
Journal of Music Theory (2010) 54 (2): 143–177.
Published: 01 October 2010
..., semiregular, faithful, and diagonal cases, among others. Three general situations arise: First, the commuting group for a group with an action that is merely transitive is isomorphic to the normalizer of a point stabilizer modulo the point stabilizer. Second, the commuting group for a diagonal subgroup...
Journal of Music Theory (2014) 58 (2): 103–154.
Published: 01 October 2014
.... Part I provides an account of the rules that generate phonological words and phrases in German, the principles that determine the normal placement of stress in words and phrases, and motivations for the abnormal placement of stress. Part II looks at higher-level, facultative structures in prosodic...
Journal of Music Theory (2019) 63 (2): 167–207.
Published: 01 October 2019
... in a circular direction around the space (Figure 12). Figure 13 depicts the path of the counterpoint shown in Example 1. The labels below the counterpoint indicate generalized normal forms, which correspond to points in the OPTIC spaces (Hook 2017). The most spe- cific descriptions are given by the pitch...
Journal of Music Theory (2001) 45 (1): 1–29.
Published: 01 April 2001
...) and the “concrete” one modeled by (050405040504). 5.4.1 A pertinent mathematical relation between the two functions is manifest when we normalize each function, multiplying all function-val- ues by a constant factor that makes the normalized function-values sum to 1. The “abstract” interval function...
Journal of Music Theory (2003) 47 (1): 125–154.
Published: 01 April 2003
... concerning the normative align- ment of meter and grouping. This issue has received a good deal of dis- cussion, particularly regarding the level of the phrase. A number of authors have argued that the normal situation is for meter and grouping to be roughly “in phase” at the phrase level...
Journal of Music Theory (2014) 58 (1): 1–24.
Published: 01 April 2014
... and Rhythmic Normalization .” In Trends in Schenkerian Research , ed. Cadwallader Allen , 87 – 113 . New York : Schirmer . Schulenberg David . 2006 . The Keyboard Music of J. S. Bach . 2d ed. New York : Routledge . Stauffer George . 1997 . Bach: The Mass in B minor . New...
Journal of Music Theory (2002) 46 (1-2): 57–126.
Published: 01 October 2002
... multiplicative group The kernel of this homomor- phism is the set + consisting of the 144 mode-preserving UTTs (the transformations in having positive sign). As such, + is automatically a + − + − + + − normal subgroup of . Because t U, t U t V, t V〉 = t...
Journal of Music Theory (2016) 60 (1): 1–21.
Published: 01 April 2016
... first summarize the principal points the earlier article made, at least implicitly. All of the prolongations there were, with a single exception, based on one of the two dissonant chords that in conventional tonal harmony were viewed as “normal”: the augmented...
Journal of Music Theory (2004) 48 (1): 25–68.
Published: 01 April 2004
... to the presentation of a fundamentally adjusted Schenkerian understanding of the sorts of background-level deviations from normal voice leading com- mon to the nineteenth-century song, a genre attractive to a number of modern-day Schenkerians if not one favored by Schenker himself. It is also a genre through...
Journal of Music Theory (2001) 45 (1): 144–150.
Published: 01 April 2001
... ¢ and £ to the at the interruption point, as it normally would (Figs. 24 26). This means that the composition is not based on the interruption principle in the strictest sense. The background of the exposition rather resembles the voice-leading of Fig. 152,4, measures 1 4: the tone that would be the of the fundamental line (b1...
Journal of Music Theory (2007) 51 (2): 277–332.
Published: 01 October 2007
... and Q, where P is some given trichord and Q varies among all possible trichords. Recall from §4.2 that the fundamental region of trichord set-classes is the triangular region graphed in Figure 22. To this two-dimensional region we add a third dimension that cor- responds to normalized similarity...
Journal of Music Theory (2005) 49 (1): 181–188.
Published: 01 April 2005
... motions, the book concentrates primarily on fragments chosen to illuminate the unifying features that are its main concern, and given that these are “motivic,” they do not normally take in entire works. Since the book is definitely not a primer, interest will thus be confined to those already...
Journal of Music Theory (2015) 59 (1): 63–97.
Published: 01 April 2015
... ways; see, their highly chromatic surface is supported by normal mid- for example, Blair Johnston’s (2009, 21–22) discussion of dleground and background structures. Unlike Cunningham, Rachmaninoff’s position “between tonal ‘norms’ and chro- I admit some departures from the normative Schenkerian...
Journal of Music Theory (2012) 56 (2): 285–291.
Published: 01 October 2012
...,” completes the impression that Stravinsky’s music is deficient in qualities that normally connote quality in academic music study. Horlacher, bless her again, is unafraid of the terms, sees their point, and helpfully glosses them (although she mistakenly infers...
Journal of Music Theory (2000) 44 (1): 171–229.
Published: 01 April 2000
... to produce mathematical values representing the Domains’ relative seg- mental strength, and then all the Domains’ relative strengths are normal- ized so that they sum to 1.0 (see I.3.2. Math). This result we term the “NWV,” or Normalized Weighting Value. Upon completion of the weight- ing system, all...
Journal of Music Theory (2005) 49 (2): 241–275.
Published: 01 October 2005
... and the left hand of the comping track.7 Levels a–c analyze this music in stages. Level c includes every bass note, but rhythmically normalizes them, and shows some of the compound melodic structures that result in the bassline.8 All chord roots for what might be called “the basic changes...
Journal of Music Theory (2014) 58 (2): 235–256.
Published: 01 October 2014
... worlds removed from any based on voice leading in its normal sense, that is, on counterpoint. It is true, as Henry Klumpen houwer (1994, 15–29) pointed out and as is reinforced in a couple of the chapters in the Handbook, that Riemann’s writings contain...
Journal of Music Theory (2009) 53 (2): 305–328.
Published: 01 October 2009
... on what they said. Review Temperley on Mirka 307 representations.2 The other goal is improving and enriching our perception— for example, by examining the music more closely and deliberately than is normally done in “ordinary” listening...