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Journal Article
Journal of Music Theory (2011) 55 (1): 147–153.
Published: 01 April 2011
... is more audacious: “Edmond de Polignac and the Discovery of Octatonicism Certainly Kahan puts forward a convincing case for Polignac’s treatise of 1879 being (as yet) the earliest known detailed docu- mentation of the octatonic scale—that is, apart from Rimsky’s brief descrip- tion of the scale...
Journal Article
Journal of Music Theory (2016) 60 (2): 213–262.
Published: 01 October 2016
...: Stravinsky and the Octatonic: Octatonicism Reconsidered Again.” Music Theory Spectrum 25/1: 185–202. 2004. “Scale Networks and Debussy.” Journal of Music Theory 48/2: 215–92. 2008. “Set-Class Similarity, Voice Leading, and the Fourier Transform...
Journal Article
Journal of Music Theory (2004) 48 (2): 219–294.
Published: 01 October 2004
... Impressionism and Jazz.” Intégral 11: 135–79. 293 2002. “Stravinsky and the Octatonic: A Reconsideration.” Music Theory Spectrum 24: 68–102. 2003. “Octatonicism Reconsidered Again.” Music Theory Spectrum 25: 185–202. 2005. “Voice...
Journal Article
Journal of Music Theory (2004) 48 (2): 295–324.
Published: 01 October 2004
... in Stravinsky’s music, includ- ing octatonic harmony and an opposition between diatonic and chromatic writing. The cinematic aspect of Petrushka’s formal construction pro- vides the second connection here, since Debussy was greatly impressed by this new art form. Richard Langham Smith has written...
Journal Article
Journal of Music Theory (2014) 58 (2): 179–233.
Published: 01 October 2014
... the (lesser) chromatic semi- tone and the greater chromatic semitone, which equals CS + SC; the octatonic comma basis and the whole-tone comma basis are shifted by one and two syntonic commas, respectively. Example 8 gives an overview of the subchromatic comma...
Journal Article
Journal of Music Theory (2015) 59 (2): 273–320.
Published: 01 October 2015
... as it corresponds to contiguity in the space at the expense of octatonicism, which results from the superimposition of harmonically dis- tant tetrachords.24 The Dasian/modal reading also accounts for the two pen- ultimate notes of the piece (G and D , circled in Figure 3), which are foreign to the octatonic...
Journal Article
Journal of Music Theory (2017) 61 (2): 243–287.
Published: 01 October 2017
... that each chain has a distinctive triadic pro- file that avoids emphasizing tonal patterns. One chain in the PSM framework has a particular history within the Russian musical tradition. The P/M chain generates an octatonic minor- third cycle, moving through all major and minor triads with roots...
Journal Article
Journal of Music Theory (2005) 49 (2): 333–357.
Published: 01 October 2005
... cycle. The first octave ascent occurs between mm. 33 and 40, and the second between mm. 41 and 50. (The first of these ascents, at mm. 33–40, states the octatonic collection.) Similarly, the bass participates in the interval-class-3 motion: against the first octave ascent in the melody...
Journal Article
Journal of Music Theory (2017) 61 (1): 111–140.
Published: 01 April 2017
... discussed categories of hexatonic and octatonic collec- tions or scales, which are generally understood in contrast to the diatonic collection or scale of normative major-minor tonality. It is true that, just as Hauptmann’s chain of major triads progresses through...
Journal Article
Journal of Music Theory (2004) 48 (1): 99–141.
Published: 01 April 2004
...- cal objects upon which actions are performed; a group contains the actions themselves. In Figure 1, G is the familiar T/I group of atonal theory consisting of the twelve transposition and twelve inversion operations. When listening to an octatonic piece (such as Scriabin, op. 74, no. 3) one...
Journal Article
Journal of Music Theory (2018) 62 (1): 85–118.
Published: 01 April 2018
... in the Music of Alexander Scriabin .” Journal of Music Theory 42 / 2 : 219 – 33 . Cohn Richard . 1991 . “ Bartók’s Octatonic Strategies: A Motivic Approach .” Journal of the American Musicological Society 44 / 2 : 262 – 300 . Cohn Richard . 2012 . Audacious Euphony: Chromaticism...
Journal Article
Journal of Music Theory (2000) 44 (1): 231–236.
Published: 01 April 2000
..., no Stravinsky method” (p. 7); nor will van den Toorn’s octatonic routines, Forte’s set-class gen- era, or Straus’s post-tonal voice-leading theories capture the essence of Stravinsky’s musical legacy. Cross asserts that only a modernist perspec- tive can locate the radical elements of Stravinsky’s aesthetic...
Journal Article
Journal of Music Theory (2011) 55 (1): 43–88.
Published: 01 April 2011
... of the three octatonic col- lections. With these chains, the transpositional interval that connects every other link in the chain (the RI of the RI—what Lewin calls the TCH) is either T9 (if you are moving from left to right) or T3 (if you are moving from right...
Includes: Supplementary data
Journal Article
Journal of Music Theory (2008) 52 (2): 251–272.
Published: 01 October 2008
... with moments of intense chromaticism, sometimes mediated by nondiatonic scales such as the whole-tone and octatonic. In some cases, the music moves continuously from one world to another, making it hard to identify precise bound­aries between them. Yet we may still have the sense...
Includes: Supplementary data
Journal Article
Journal of Music Theory (2002) 46 (1-2): 57–126.
Published: 01 October 2002
... 6 6 6 6 C → F≥,c → f≥ 6,6〉 S6 S6 Tritonusschritt Q (LR) ,(RL) PRPR, RPRP D T6, octatonic pole 7 C → G, c → f 7,5〉 S7 S7...
Journal Article
Journal of Music Theory (2012) 56 (1): 1–52.
Published: 01 April 2012
... that in Figure 12 can be filled in by diatonic triads, octatonic triads, or familiar seven-note scales. Readers who want further information are directed to §3.11 of A Geom- etry of Music. Here the important point is that both families of lattice...
Journal Article
Journal of Music Theory (2007) 51 (2): 187–210.
Published: 01 October 2007
... way opposed and yet related to each other through the flower. (1967, 210) associates hexatonicism with magic in general, its ennea- 5  Browning 1967, 198–99, reproduces much of Mörike’s tonic aspect with Klingsor, and its octatonic aspect with lengthy...
Journal Article
Journal of Music Theory (2006) 50 (1): 128–139.
Published: 01 April 2006
... as a detail. Once octatonic collections become the occasion for technical analysis early on in the volume, Taruskin subtly draws attention to various manifestations of the [016] trichord. Several hundred pages later in a well-argued and documented section (4:331ff...
Journal Article
Journal of Music Theory (1999) 43 (2): 193–230.
Published: 01 October 1999
...-classes are 4–28, its comple- ment, 8–28 (the octatonic scale), and the aggregate.8 Clearly, 4–28 and 8–28 occupy special status: these are the only set- classes capable of modulating or pivoting from one universe to another. The pc design below illustrates a modulation from Even to Odd...
Journal Article
Journal of Music Theory (2005) 49 (1): 1–43.
Published: 01 April 2005
... 3 Figure 1. K-nets, mm. 1–5 4 analyses of the work by Gingerich (1996) and Forte (1998). The former studies the melodic presence of the well-known BACH motive (under a number of transformations) in the dux. The latter isolates octatonic struc- tures in the dux...