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Published: 01 April 2021
Figure 1. Choreomusical notation. The notehead's position on the staff indicates the dancer's vertical spatial position; stem positions, left and right (mirroring the reader), indicate the weight-bearing leg(s). Figure 1. Choreomusical notation. The notehead's position on the staff indicates More
Journal Article
Journal of Music Theory (2020) 64 (1): 37–61.
Published: 01 April 2020
... passages from Intermittences clarify the interaction of notational and registral silence in the work. A comparison of four recordings of Intermittences explores how performers realize the work’s notational silences as acoustic ones. Copyright © 2020 by Yale University 2020 Elliott Carter...
Journal Article
Journal of Music Theory (2013) 57 (1): 47–85.
Published: 01 April 2013
... ground these schemas in a cognitive, listener-oriented framework, the article also introduces the concept of metrical orientation. Metrical orientation involves heard measures, measures that are organizationally similar to notated measures but that may differ from the notated measures of the score with...
Journal Article
Journal of Music Theory (2013) 57 (1): 87–118.
Published: 01 April 2013
...Channan Willner Hemiolas are by definition metrically dissonant, in durational disagreement with the notated meter. But when extended metrical shifts (known also as afterbeats or afterbeat displacement ) displace a composition in part or in whole to the right (in order to emphasize the closing beat...
Journal Article
Journal of Music Theory (2016) 60 (1): 23–50.
Published: 01 April 2016
... − 1, where n equals cardinality. This notation identifies pitches solely by their relative height, thereby eschewing any reference to specific interval size and effectively transforming pitches in pitch space into contour pitches in contour space. The variable end-point mechanism this procedure...
Journal Article
Journal of Music Theory (2007) 51 (2): 245–276.
Published: 01 October 2007
...Elizabeth Hellmuth Margulis This article explores the functions of silence in common-practice music, with an emphasis on the characteristics of perceived silence as distinct from notated and acoustic silence. Context is shown to guide listening in complex ways that enable the same acoustic silence...
Journal Article
Journal of Music Theory (2008) 52 (1): 41–74.
Published: 01 April 2008
...Cristle Collins Judd This article takes Thomas Morley's A Plaine and Easie Introduction to Practicall Musicke (1597) as a point of departure for exploring a group of sixteenth-century texts that place music, especially as represented by musical notation, within the form of a dialogue. Music and...
Journal Article
Journal of Music Theory (2019) 63 (2): 231–260.
Published: 01 October 2019
...Stephen Guerra Pitch spaces such as the circle of fifths model change through time in a composition, recording, or improvisation. Metric spaces theorized over the past twenty years do the same for changes (notated or not) in meter. Trajectories in either space and their potentially reinforcing or...
Journal Article
Journal of Music Theory (2020) 64 (2): 147–201.
Published: 01 October 2020
... the century signature flats and sharps were clefs, mere notational symbols that provided a shorthand for the probable pitches in a composition. As a result, English musicians used adjacent keys (i.e., ♮-D and -D), which were distinct, well-formed versions of a broader category of D minor. In the...
Journal Article
Journal of Music Theory (2018) 62 (2): 249–278.
Published: 01 October 2018
...Paul Steinbeck This article examines Anthony Braxton’s Composition 76 , a landmark work for three multi-instrumentalists. The score for Composition 76 employs graphic techniques (colors, shapes, and codes) as well as traditional notation on five-line staves. Original transcriptions of two studio...
Journal Article
Journal of Music Theory (2021) 65 (1): 107–137.
Published: 01 April 2021
... presents four choreomusical analyses that draw on archival dance notation and videos of present-day performances. Copyright © 2021 by Yale University 2021 ballet metrical dissonance metric type P. I. Tchaikovsky Enrico Cecchetti CONSIDER THE BATTEMENT TENDU : in two fluid motions, a...
Journal Article
Journal of Music Theory (2021) 65 (1): 139–169.
Published: 01 April 2021
...Figure 1. Choreomusical notation. The notehead's position on the staff indicates the dancer's vertical spatial position; stem positions, left and right (mirroring the reader), indicate the weight-bearing leg(s). Figure 1. Choreomusical notation. The notehead's position on the staff indicates...
Image
Published: 01 April 2021
Example 1a. Choreographic 4-layer against the music's 2- and 6-layers (1 = eighth). Dancers' counts are notated above the dance staff. Each dance count “4” is marked choreographically. J. S. Bach, Concerto in D minor for Two Violins, BWV 1043, mvt. 3, mm. 127–30. Example 1a. Choreographic 4 More
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Published: 01 April 2021
Example 1. Formal sections of a salsa arrangement and their corresponding percussion complexes. This example combines information from Washburne 2008 : figures 6.1, 6.2, 6.3. In Washburne's notation, noteheads placed above and below the staff indicate an alternation of high- and low-pitched More
Journal Article
Journal of Music Theory (2020) 64 (2): 293–296.
Published: 01 October 2020
... is more than a compositional style. It is a cultural aesthetic embedded in an innovative notational practice emblematic of prevailing scholastic and philosophical mindsets. In chapter 1 Desmond distances her work from earlier studies that con- sidered the stylistic attributes of the ars nova. Instead...
Journal Article
Journal of Music Theory (2017) 61 (2): 289–296.
Published: 01 October 2017
...Ruth I. DeFord Grant Roger Mathew , Beating Time and Measuring Music in the Early Modern Era , Oxford University Press , 2014 : viii + 309 pp. ( $45.00 cloth) Copyright © 2017 by Yale University 2017 Works Cited Bank J. A. 1972 . Tactus, Tempo, and Notation in...
Journal Article
Journal of Music Theory (2008) 52 (1): 13–40.
Published: 01 April 2008
... inaugural focus on intervals and (perfect) consonances, his construction of a diatonic pitch gamut, and his invention of a symbolic pitch-specific notation, topics that occupy the major portion of Musica (Weakland 1956; Palisca 1978, 5–11; Cohen 2002, 318–23...
Journal Article
Journal of Music Theory (2001) 45 (1): 170–176.
Published: 01 April 2001
... transla- tion and editing. 170 Schenker covers his topic in four broadly-defined, and somewhat overlapping areas:2 1. The philosophy and aesthetics of performance 2. The interpretation of specific modes of notation 3. Suggestions as to how one should physically play one’s instru- ment...
Journal Article
Journal of Music Theory (2000) 44 (1): 45–79.
Published: 01 April 2000
... Norm.” In Modality in the Music of the Fourteenth and Fifteenth Centuries , edited by Ursula Günther, Ludwig Finscher and Jeffrey Dean, 53 -64. American Institute of Musicology, Hänssler. Hoppin, Richard. 1960 . “Notational Licenses of Guillaume de Machaut.” Musica Disciplina 14 : 13 -27...
Journal Article
Journal of Music Theory (2008) 52 (1): 159–180.
Published: 01 April 2008
... differentiis et gradibus cantorum.” Journal of the Royal Musical Association 117 : 1 -21. ____. 1993 . Discarding Images: Reflections on Music and Culture in Medieval France. Oxford: Clarendon Press. Parrish, Carl. 1957 . The Notation of Medieval Music. R1959. New York: Norton. Reprint. New...