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Journal Article
Journal of Music Theory (2008) 52 (1): 1.
Published: 01 April 2008
...Ian Quinn 2008 2008 Editor’s note when jennifer bain and cristle collins judd approached me at the Baltimore meeting of the Society for Music Theory in 2007 to suggest that we honor Sarah Fuller with a special issue focusing...
Journal Article
Journal of Music Theory (2021) 65 (1): 1–2.
Published: 01 April 2021
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Published: 01 October 2021
Example 27. Labeling chromatic semitones in the bass (ii) when a note of a chromatic semitone supports two leading tones in the upper voices. More
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Published: 01 October 2021
Example 28. Labeling chromatic semitones in the bass (iii) when the second note of the chromatic semitone thwarts a leading tone. More
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Published: 01 October 2021
Example 38. Idioms where the first note is a non-leading-tone member of an imperfect consonance. More
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Published: 01 October 2021
Figure 6. The rhythms of Figure 4 in the Cartesian space for the half-note periodicity. More
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Published: 01 April 2022
Example 6. Five-note motive variant in Beethoven’s Symphony no. 5, op. 67, i, mm. 39–40, second violin. More
Journal Article
Journal of Music Theory (2006) 50 (1): 1–2.
Published: 01 April 2006
...Ian Quinn © 2008 by Yale University 2008 Editor’s note eagle-eyed readers may have noticed a few subtle changes in the previ- ous two issues of the Journal of Music Theory. For one thing, the word “Duke” appeared on the spine...
Journal Article
Journal of Music Theory (2007) 51 (1): 1.
Published: 01 April 2007
...Ian Quinn 2007 2007 This content is made freely available by the publisher. It may not be redistributed or altered. All rights reserved. Editor’s note jmt is delighted to have the opportunity to publish this extraordinary col- lection...
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Published: 01 April 2023
Figure 4.2. A . Three-note set-class space, with regions corresponding to clustered (triangle), tertian (quadrilateral), quartal (pentagon), and equipollent (oval) set-classes. Small italic labels show equal-tempered chromatic sets; large bold labels show equiheptatonic set-classes. B . Single More
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Published: 01 April 2023
Figure 8.3. Barry Harris alternating between 0246 tetrachords of an eight-note scale, each decorated with an appoggiatura. The example comes from Bicket 2001 . More
Journal Article
Journal of Music Theory (2021) 65 (1): 11–16.
Published: 01 April 2021
... and fillable onsets is around 2⁄5 second. See Clarke 1999 : 474. 2 It is important to note that, although counting is a prototypical way that dancers in European historical traditions engage with meter, not all dancers and dance traditions optimize the endogenous capacity for isochronous time...
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Published: 01 April 2021
Figure 2. Choreomusical and choreographic grouping dissonances (1 = eighth note). More
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Published: 01 April 2021
Example 6. G3/2 (1 = quarter note) introduced as a submerged dissonance. Tchaikovsky, Nutcracker , act 1, no. 9, Waltz of the Snowflakes, mm. 25–39. More
Journal Article
Journal of Music Theory (2005) 49 (2): 301–332.
Published: 01 October 2005
...Steven Strunk NOTES ON HARMONY IN WAYNE SHORTER’S COMPOSITIONS, 1964–67 Steven Strunk The tenor saxophonist Wayne Shorter is widely recognized as a con- summate improviser, but his historical...
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Published: 01 October 2021
Example 24. Stable notes (indicated by hollow notes). More
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Published: 01 October 2021
Example 26. Labeling chromatic semitones in the bass (i) when one or both notes of the chromatic semitone are overdetermined leading tones. More
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Published: 01 October 2021
Example 15. Animals as Leaders, “The Brain Dance” (2:23–2:54). Snare ghost notes not shown. More
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Published: 01 October 2021
Example 15. Animals as Leaders, “The Brain Dance” (2:23–2:54). Snare ghost notes not shown. More
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Published: 01 April 2023
Figure 18. Agogically accented notes from Miles Davis's first solo in Flamenco Sketches , composed by Davis and Bill Evans, depicted in scale degree versus onset beat performance space. More