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Journal Article
Journal of Music Theory (2010) 54 (2): 143–177.
Published: 01 October 2010
... of a direct product of orbit restrictions is a wreath product of the commuting group of one orbit restriction (as above) by the symmetric group on the set of orbits. Third, the commuting group for any group with any type of action is a direct product of such wreath products for each union of orbit...
Journal Article
Journal of Music Theory (2011) 55 (2): 167–220.
Published: 01 October 2011
... distant orbit are the aforementioned authors whose writings chronicle the fortunes of formalism in the 1800s. Lee Rothfarb is professor of music theory at the University of California, Santa Barbara. His publications include Ernst Kurth as Theorist and Analyst (SMT’s 1989 Outstanding Publication...
Journal Article
Journal of Music Theory (2015) 59 (1): 121–181.
Published: 01 April 2015
... the geometry, the article develops a number of concepts for the analysis of chromatic harmony, including a geometric concept of interval as direction (intervallic axis), a novel approach to triadic voice leading (triadic orbits), and theories of tonal regions. I thank JMT ’s anonymous reviewers...
Journal Article
Journal of Music Theory (2004) 48 (1): 1–24.
Published: 01 April 2004
... the transformational structure9 of Example 1: act/action and orbit. A final definition, orbit subset, looks ahead to the transformational structure of later analytic examples. Definition 1. Sc Z has CUP with scs X and Y if for all non-intersect- ing pcsets x ∈ sc X and y ∈ sc Y, x ∪ y is always a member...
Journal Article
Journal of Music Theory (2002) 46 (1-2): 153–205.
Published: 01 October 2002
... two discrete cyclic adjacencies (i.e., <1,1 not the space between them. Such distinctions, and perhaps more importantly, correspondences among pcsets based on the sets of cycles inhabited by the intervals within pcsets, prompts the present study. We begin in section 0 with a review of orbits...
Journal Article
Journal of Music Theory (2005) 49 (2): 301–332.
Published: 01 October 2005
...” 46863, CS9150/CL2350) “El Gaucho” Wayne Shorter, Adam’s Apple “Footprints” (Blue Note BST 4BN 84232) 1966 “Orbits” Miles Davis, Miles Smiles (Columbia 48849, CS9401...
Journal Article
Journal of Music Theory (2016) 60 (2): 181–212.
Published: 01 October 2016
...; and [046] appears four times. As shown in Figure 3, successive rotations of the 1-cycle while keeping the 20- and 30-cycles fixed generate twelve AC classes, organized here in a circular design. A clockwise move around the orbit represents shifts...
Journal Article
Journal of Music Theory (2003) 47 (1): 215–222.
Published: 01 April 2003
... orbit of a C tonic. He quickly banishes the church modes, however, retaining only the “Phrygian” second degree. Thus what, in mod- ern terms, we would call the tritone-related pitch-class disappears from his mixed system. Schenker’s flirtation with polymodality is interesting when one...
Journal Article
Journal of Music Theory (2001) 45 (2): 233–261.
Published: 01 October 2001
... suggests this, of course.) Although E major is stable enough to serve as the structural goal of the piece, the har- monies prior to m. 14 do not come into the orbit of E. And so, as a key, E major relates not so much to the past (i.e., mm. 1–13) as to an unforeseen future. It is thus possible...
Journal Article
Journal of Music Theory (2020) 64 (2): 297–308.
Published: 01 October 2020
... of formerly standard- core topics (ejected as orbiting electives, as it were) is the functional equiva- lent of disintegrating the core. On that sobering note, I pick up and start afresh here with a new idea: a theory core that s not a curriculum but a learning outcome. It has to be what we hope to instill...
Journal Article
Journal of Music Theory (2010) 54 (1): 91–105.
Published: 01 April 2010
... . . . the question of the times resolved itself into a practical question of the conduct of life.” I have in effect said that in “Fate” the “question of the times”—what Emerson calls in his opening “the huge orbits of the pre- vailing ideas” whose...
Journal Article
Journal of Music Theory (2015) 59 (2): 235–271.
Published: 01 October 2015
... the refrain on I, a gesture that roots Morley’s ballett firmly in the tonal orbit of its key note. This modification responds to the melodic trajectory of the first phrase: Morley echoes the pair of ascending thirds with a pair that descends, closely juxtaposing the raised and lowered versions of 4ˆ...
Journal Article
Journal of Music Theory (1999) 43 (1): 101–133.
Published: 01 April 1999
... digression in the orbit of the subdom- inant (a passing harmony which supports the melodic neighbor C), Scar- latti regains 7ˆ in m. 84, where a tonicization of the minor dominant sets off a sequential pattern (7-10-7-10, etc.) reaching the tonic at m. 92. Here, completion of the first of the movement’s...
Journal Article
Journal of Music Theory (2001) 45 (1): 73–118.
Published: 01 April 2001
... in chapter 12:1–3, clothed in the sun, standing on the moon, and wearing a crown of twelve apocalyptic stars, was vividly used to represent the Vir- gin in contemporary iconography (Elders 1994, 171). Musical use of similar number-symbolism can be found within Gascongne’s orbit, in other Marian pieces...
Journal Article
Journal of Music Theory (2014) 58 (1): 1–24.
Published: 01 April 2014
... of such mutation in this fugue; like the mutated subject entries from the Goldberg fughetta, it has a modulatory function. The modulation from a (v) to g (iv) marks the only time the fugue goes beyond the tonic/dominant orbit established by the subject/ answer pair. Joseph Kerman describes the passage...
Journal Article
Journal of Music Theory (2019) 63 (2): 209–229.
Published: 01 October 2019
... does follow on the heels of a very curious tonal alteration, in the primary theme (P) zone, that moves what should be an all-E-major recapitulation temporarily into the orbit of B major. The initial alteration is given in Example 4. Whatever else it does, this alter- ation does not ensure a proper...
Journal Article
Journal of Music Theory (2024) 68 (1): 1–34.
Published: 01 April 2024
..., are easily scored with bowed strings. Due to their resistance to projecting melodies (or contrapuntal complexity), pizzicato textures emphasize the delicate (i.e., sensitive) touch of fingertips on the strings. They can place a violin within the sonic, visual, expressive, and gendered orbits of members...
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Journal Article
Journal of Music Theory (2008) 52 (1): 13–40.
Published: 01 April 2008
... of various modes; and a symbolic nota- tional system (inspired by Boethian pitch symbols) can be certified through 41  Given that Hucbald refers to no other contemporary trea- in the Enchiriadis treatises), it seems likely that in his orbit tises in Musica, and seems unaware of any other contem- basic...
Journal Article
Journal of Music Theory (2022) 66 (2): 147–187.
Published: 01 October 2022
... the broadly neo-Kantian orbit of Helmholtz's epistemology. 35 Riemann's “musical logic” thus undertakes to offer an account of musical hearing as mediated by categories of mind. The “logic” in question is a psychologizing one, in so far as Riemann claims to lay bare what actually goes on in listeners...
Journal Article
Journal of Music Theory (1999) 43 (1): 21–82.
Published: 01 April 1999
... is the partition associated with T0. The distinction between the two is formulated there in terms of a contrast between the cycles and the orbits of a twelve-tone transformation. 8. Similar terminology and definitions, along with some additional discussion, can be found in Kurth 1996, 83–85...