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in Approximate Set Theory: Chord Categories, Voicings, and Interval Cycles
> Journal of Music Theory
Published: 01 April 2023
Figure 1.8. Schoenberg's Violin Concerto op. 36 opens with a pair of inversionally related hexachords voiced in the same way. This generalized neo-Riemannian voice leading preserves the relative arrangement of the chromatic cluster (open note heads, left two measures). Each hexachord is voiced
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Published: 01 October 2023
Appendix Example 2-1. All eight CM schemata; mirror pairs are shown above, pairs inverted at the twelfth (strictly speaking, at the nineteenth), below.
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Journal Article
Journal of Music Theory (2020) 64 (1): 1–36.
Published: 01 April 2020
... as formulated by William Caplin. This article proposes a framework for modeling expectation at the theme and phrase level. This is premised on the idea that conventional beginning-ending pairs condition listeners to expect certain endings when they hear certain beginnings. An expansion of Caplin’s categories...
Journal Article
Journal of Music Theory (2012) 56 (2): 225–283.
Published: 01 October 2012
... in Bellini of tonal pairing, usually (but not always) involving relative keys. The sonorità or focal melodic pitch, long associated with Verdi’s operas, is found to play a unifying role in the second-act finale of Norma . Issues of reception history, text criticism, and analytical methodology are also...
Journal Article
Journal of Music Theory (2014) 58 (1): 25–56.
Published: 01 April 2014
... comparison between Roesner’s interpretation of the outer movements of the String Quartet in A minor as examples of deficient two-part expositions and readings of them instead as instances of the continuous type. The first movement of the Second Symphony illustrates that the tonal pairing of the A-minor...
Journal Article
Journal of Music Theory (2015) 59 (1): 63–97.
Published: 01 April 2015
... several concepts related to tonal disunity in Russian- and English-language sources, including tonal pairing, directional tonality, and mutability, and offer my own definition of mutability, understood in Schenkerian terms. I then briefly discuss these phenomena in the style to which the Vigil belongs...
Journal Article
Journal of Music Theory (2020) 64 (2): 203–240.
Published: 01 October 2020
..., such as form-functional contrast among P, S, C, and coda; characteristics that signal end-of-the-beginning versus end-of-the-end functions for cadences; the interaction of tonal pairing and formal design; and Dvořák’s recapitulatory reinterpretations of his expositional strategies. The analyses illustrate...
Journal Article
Journal of Music Theory (2022) 66 (1): 93–128.
Published: 01 April 2022
... similarities between pairs of contours with different lengths, and fewer still can measure shared characteristics among an entire family of contours. This article introduces a new method for evaluating familial similarities between related contours, even if the contours have different cardinalities. The model...
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Journal Article
Journal of Music Theory (2007) 51 (2): 187–210.
Published: 01 October 2007
...Matt BaileyShea This article analyzes Hugo Wolf's Auf eine Christblume I and II in relation to Robert Bailey's concept of the “double-tonic complex.” These songs project an intricate pairing of D and F# tonalities that often result in various hexatonic relationships. My interpretation associates...
Journal Article
Journal of Music Theory (2024) 68 (1): 1–34.
Published: 01 April 2024
... that a common configuration of serenade figurae acted as a stock orchestral texture. This convention is modeled as a musical construction: the serenade construction. It paired musical structures with the semantic meanings of the serenade. In its evocation of serenading, the serenade construction preserved...
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in The Transformation of Prewar Blues into Postwar Rhythm and Blues: The Great Migration, Urbanization, and Form
> Journal of Music Theory
Published: 01 October 2023
Example 36. Ray Charles, “It's All Right” (1958). Development of the call-and-response pairs over the song's three verses.
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in The Transformation of Prewar Blues into Postwar Rhythm and Blues: The Great Migration, Urbanization, and Form
> Journal of Music Theory
Published: 01 October 2023
Example 18. Chuck Berry, “School Day” (1957). AB/CD/EF poetic form with lines spanning a weak upbeat position and the following strong downbeat position. On the level of the beat the lines stretch across beats 2, 3, 4, and 1 in every weak-strong pair and the instrumental responses have the same
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in Approximate Set Theory: Chord Categories, Voicings, and Interval Cycles
> Journal of Music Theory
Published: 01 April 2023
Figure 4.6. A reduction of mm. 4–6 of Rite of Spring , along with two recompositions that shift the parallel motion to other pairs of voices. This moves the position of the gapped quartal voicings.
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Journal Article
Journal of Music Theory (2003) 47 (1): 103–123.
Published: 01 April 2003
... (pcsets). The basic unit of harmonic progres-
sion, according to this conception, is the ordered pcset pair (X,Y), which
represents harmony based on X followed by, or progressing to, harmony
based on Y. These basic units can be chained together to form larger pcset
progressions; linking the pairs (X...
Journal Article
Journal of Music Theory (2001) 45 (1): 1–29.
Published: 01 April 2001
...David Lewin 2001 © Yale University, New Haven, Connecticut 06520 2001 SPECIAL CASES OF THE
INTERVAL FUNCTION BETWEEN
PITCH-CLASS SETS X AND Y
David Lewin
1. Pcset pairs <X,Y> for which IFUNC(X,Y) is constant
1.1.1 Example...
Journal Article
Journal of Music Theory (2001) 45 (2): 435–456.
Published: 01 October 2001
... materials—hair and felt—ever collides either with itself or
with the other within Penderecki’s system, but must always interact with
one of the materials that constitutes a potential sound source. A simple
matrix, shown in the following table (Figure 1), displays all possible
pairs of interacting...
Journal Article
Journal of Music Theory (2002) 46 (1-2): 153–205.
Published: 01 October 2002
... and proposes some further applications
for analysis.
0. Review of Orbits of Cyclic Groups of Translations
Given a pitch-class set S, such that #(S) ≥ 2, each interval between a
pair of elements sx and sy in S determines a translation TTO Tsy-sx. Sup-
pose that, as integers, sx < sy. Our...
Journal Article
Journal of Music Theory (2005) 49 (1): 1–43.
Published: 01 April 2005
... highlights the
canonic relation between upper rank vertices by means of brackets and
appropriate dux and comes labels.
Canonic structuring also determines certain relationships within the
series of lower rank vertices. The resulting pairings do not correspond,
however, to those that characterize...
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in The Transformation of Prewar Blues into Postwar Rhythm and Blues: The Great Migration, Urbanization, and Form
> Journal of Music Theory
Published: 01 October 2023
; the last phrase shifts to the standard pacing and shortens the call-and-response pairs to the level of the metric position.
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Journal Article
Journal of Music Theory (2002) 46 (1-2): 285–345.
Published: 01 October 2002
... as the most immediate manifestation of larger patterns
of transformation and recurrence.
Mead states that the array also contains a midpoint temporal aggregate
between the background and surface. He informs us that the classic hexa-
chordal combinatorial pair of row forms used...
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