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Published: 01 April 2021
Figure 1. A time-line pattern often referred to as the standard pattern , shown with the main beat (metrical interpretation). Figure 1. A time-line pattern often referred to as the standard pattern, shown with the main beat (metrical interpretation). More
Image
Published: 01 April 2021
Figure 1. Footwork pattern for the on-1 salsa basic (single dancer, bird's-eye perspective on floor). Dark footprints = active feet (motion); light footprints = inactive feet (no motion). This footwork is from the follow's perspective. To obtain the lead's footwork, switch the two temporal More
Image
Published: 01 April 2021
Figure 2. Footwork pattern for the on-1 salsa basic (single dancer on score, noting contour and durational accents). C = large contour accent; c = small contour accent; D = (interonset) durational accent; R = right foot; L = left foot. This footwork is from the follow's perspective. To obtain More
Image
Published: 01 April 2021
Figure 3. On-1 footwork pattern of the dancing couple: (a) bird's-eye perspective on floor and (b) dancer perspectives on staff. In Figure 3b the dancers appear to be moving as mirror-image inversions of each other, but this is only because the lead's footwork has been reoriented on the page More
Image
Published: 01 April 2021
Example 3. Bach's 4-eighth-pulse accompaniment pattern appears immediately before Balanchine's 4-eighth-pulse hops on pointe. BWV 1043, mvt. 3, mm. 123–27. Example 3. Bach's 4-eighth-pulse accompaniment pattern appears immediately before Balanchine's 4-eighth-pulse hops on pointe. BWV 1043 More
Image
Published: 01 April 2021
Example 4. Bach's 4-eighth-pulse accompaniment pattern, marked by corps dancers' port de bras . BWV 1043, mvt. 3, mm. 47–52. Example 4. Bach's 4-eighth-pulse accompaniment pattern, marked by corps dancers' port de bras. BWV 1043, mvt. 3, mm. 47–52. More
Image
Published: 01 April 2021
Example 5. Bach's 4-eighth-pulse accompaniment pattern in the first movement, where it appears in a metrically consonant context (2/2). BWV 1043, mvt. 1, mm. 63–66. Example 5. Bach's 4-eighth-pulse accompaniment pattern in the first movement, where it appears in a metrically consonant context More
Image
Published: 01 April 2021
curves seem to follow a medium heavy-heavy-light pattern, whereas the acceleration amplitude of the fiddler's foot stamping follows a high-high-low pattern that accords with the strong-[strong/medium]-weak accent pattern previously observed in telespringar playing. Figure 4. Plots showing More
Journal Article
Journal of Music Theory (2014) 58 (2): 155–178.
Published: 01 October 2014
...David Temperley A corpus analysis of common-practice themes shows that, when an intervallic pattern is repeated with one changed interval, the changed interval tends to be larger in the second instance of the pattern than in the first; the analysis also shows that the second instance...
Journal Article
Journal of Music Theory (2021) 65 (1): 139–169.
Published: 01 April 2021
...Example 3. Bach's 4-eighth-pulse accompaniment pattern appears immediately before Balanchine's 4-eighth-pulse hops on pointe. BWV 1043, mvt. 3, mm. 123–27. Example 3. Bach's 4-eighth-pulse accompaniment pattern appears immediately before Balanchine's 4-eighth-pulse hops on pointe. BWV 1043...
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Image
Published: 01 April 2021
Figure 3. (a) A simplified transcription of “ Sud-Kåsen ” and plots showing (b) the amplitude waveform, (c) the audio spectrogram, (d) bowing movements, and (e) the vertical motion of the fiddler's feet over four measures. The foot stamping follows a long-medium-short duration pattern More
Journal Article
Journal of Music Theory (2021) 65 (1): 17–38.
Published: 01 April 2021
...Figure 1. A time-line pattern often referred to as the standard pattern , shown with the main beat (metrical interpretation). Figure 1. A time-line pattern often referred to as the standard pattern, shown with the main beat (metrical interpretation). ...
FIGURES | View All (4)
Journal Article
Journal of Music Theory (2021) 65 (1): 39–80.
Published: 01 April 2021
...Figure 1. Footwork pattern for the on-1 salsa basic (single dancer, bird's-eye perspective on floor). Dark footprints = active feet (motion); light footprints = inactive feet (no motion). This footwork is from the follow's perspective. To obtain the lead's footwork, switch the two temporal...
FIGURES | View All (16)
Journal Article
Journal of Music Theory (2009) 53 (1): 1–56.
Published: 01 April 2009
..., a metric cube connects two meters if their ordered factor representations differ by only one factor. Metric cubes, and metric operations that act on the contents of a cube, reveal patterns of metric structure in three works by Brahms: the first movement of the Third Symphony op. 90, the third movement...
Journal Article
Journal of Music Theory (2009) 53 (1): 137–162.
Published: 01 April 2009
... rise to the instrument's rhythmic complexity. Drawing upon these permutational relationships, this study analyzes excerpts from bluegrass banjo repertoire in terms of the connections among rhythmic patterns rendered as beat-class sets. Last, it examines the interaction between these sets and metric...
Journal Article
Journal of Music Theory (2020) 64 (1): 63–103.
Published: 01 April 2020
... apply in numerous other contexts besides patterns of chord roots. Copyright © 2020 by Yale University 2020 sequence generic diatonic Tonnetz Works Cited Bass Richard . 1996 . “ From Gretchen to Tristan: The Changing Role of Harmonic Sequences in the Nineteenth Century...
Journal Article
Journal of Music Theory (2021) 65 (1): 81–106.
Published: 01 April 2021
... often treated as musical styles or topics than as movement patterns, and the minuet, with more explicit connections to art music, has received more attention than the contredanse. This article analyzes the choreography as well as the music of eighteenth-century contredanses to show how this dance...
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Journal Article
Journal of Music Theory (2021) 65 (1): 107–137.
Published: 01 April 2021
...Matthew Bell Abstract Much of Tchaikovsky's music for the ballets Sleeping Beauty and Nutcracker exhibits what Harald Krebs calls metrical dissonance : the juxtaposition or superimposition of noncoincident pulses and rhythmic patterns. This article shows how the dances of the composer's...
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Journal Article
Journal of Music Theory (2006) 50 (1): 77–101.
Published: 01 April 2006
... stimulates new levels and types of connection, just as a melodic pattern continually recalibrates and interacts with potential harmonic and contrapuntal orientations. Changing or shifting emphases in one orientation respond to the demands or constraints of another; in particular, I track the tonal potential...
Journal Article
Journal of Music Theory (2018) 62 (1): 41–84.
Published: 01 April 2018
... and defining patterns and suggests that deriving the schemata from underlying principles may be a step toward validating them. Further, it highlights the significance of invertible counterpoint and explores the relations between the schemata’s soprano skeletons and the Rule of the Octave, which is presumably...