...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...

...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 of...

...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 on...

... numbers, and outlines a partitional approach to pitch-class inversion. Part II explores analytical implications of the partitional model and outlines a methodology for the analysis of note-against-note and free inversional settings. The analyses use the set-class inventories for even and odd index numbers...

...Dmitri Tymoczko Taking David Lewin's work as a point of departure, this essay uses geometry to reexamine familiar music-theoretical assumptions about intervals and transformations. Section 1 introduces the problem of “transportability,” noting that it is sometimes impossible to say whether two...

...Dmitri Tymoczko This article relates two categories of music-theoretical graphs, in which points represent notes and chords, respectively. It unifies previous work by Brower, Callender, Cohn, Douthett, Gollin, O’Connell, Quinn, Steinbach, and myself, while also introducing new models of voice...

... the American Musicological Society 57 : 285 –323. Gauldin, Robert. 2004 . “The Theory and Practice of Chromatic Wedge Progressions in Romantic Music.” Music Theory Spectrum 26 : 1 –22. Hentoff, Nat. 1960 . Liner notes for Art Blakey and the Jazz Messengers: The Big Beat . Hollywood, CA...

...Philip Stoecker In this article I investigate aligned cycles. First identified by Alban Berg in a letter to Arnold Schoenberg and later discussed by George Perle and David Headlam, an aligned cycle is when two (or more) interval cycles unfold in the same direction in a note-against-note alignment...

... into the repetition such as a large interval or a chromatic note. A perceptual model is proposed, showing how the probabilities of intervals, scale degrees, and repetition might be calculated and combined. I am grateful to David Huron for making available to me his Humdrum encoding of the Barlow...

... continuous environments, applying the corresponding harmonic intuitions to all possible chords of pitches and pitch classes in all possible tuning systems. This Fourier-based approach to harmony is used to compare the properties of twelve-note chords in Witold Lutosławski and Elliot Carter, to analyze the...

...-leading spaces, generalized by Callender, Quinn, and Tymoczko, illustrate voice-leading relationships between sets. Though many researchers have noted hints of a relationship between these two types of space, their exact relation remains murky. One way of relating these two spaces involves associating...

... the first piano piece. Scholars have noted this revision, acknowledging Brahms’s role as the anonymous editor of these pieces. Yet why Schubert crossed out this entire section in the manuscript remains unanswered. Focusing on the first two Klavierstücke , since both occur within the same manuscript...

... . Lewin David . 1959 . “ Re: Intervallic Relations between Two Collections of Notes .” Journal of Music Theory 3 / 2 : 298 – 301 . Lewin David . 1977 . “ Forte’s Interval Vector, My Interval Function, and Regener’s Common-Note Function .” Journal of Music Theory 21 / 2 : 194 – 237...

.... 349 Perle’s book, part of a wide-ranging “Musicological Series” from Pendragon Press, is not long at 68 pages, but it includes a dense histori- cal and analytical introduction to the quartet, with material gathered from Perle’s existing writings as well as added material; textual notes on the...

...- ophony (section II.2: Fukushima’s Mei), homophony (Messiaen’s Can- téyodjayâ in section II.3), and polyphony (Bartók’s “Diminished Fifth” from Mikrokosmos, Bk.4, in section II.4). It is important to note that, for clarity of presentation, aspects of the theory are not explored until the analytic...

...Karim Al-Zand © 2008 by Yale University 2008 Berg, Shelton. 1990 . Jazz Improvisation: The Goal-Note Method . Evergreen, CO: Lou Fischer Music. Berliner, Paul F. 1994 . Thinking in Jazz: The Infinite Art of Improvisation . Chicago: University of Chicago Press. Brownell, John...

... significance in a culture where the neumes handed down by tradition are (as Hucbald notes) inadequate for con- veying specific pitches and intervals in a melody.7 Reaching the final section of his treatise, he characterizes it with the striking metaphor of a harvest: Now having reached the point...

... fundamental diatonic pitch class FΩ. By the start of the twen- tieth century, however, the diatonic scale was increasingly viewed as a selection of seven notes from the more fundamental chromatic collec- tion. No longer dependent on diatonic scale for their function and justifi- cation, the chromatic...

... Jazz . New York: Pantheon Books. Reprint 1983, Da Capo Press. Williams, Martin. 1989 . Notes on the Selections. Jazz Piano: A Smithsonian Collection . Washington, D.C.: Smithsonian Institution. Strunk, Steven. 1996 . Linear Intervallic Patterns in Jazz Repertory. Annual Review of Jazz Studies...

... Music Theory 42/1 : 73 – 100 . Badura-Skoda Paul . 1969 . “ Critical Notes .” In Impromptus, Moments musicaux, Drei Klavierstücke , by Schubert Franz , xix – xxi . Wien : Schott . Brodbeck David . 1984 . “ Brahms as Editor and Composer: His Two Editions of Ländler by...