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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). More
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Published: 01 October 2021
Figure 13. The basic pattern of Violin Phase (a), the double-stops of the pattern (b), and spectra of the double stop rhythm and two canons that serve as the goals of phasing processes (c). More
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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. More
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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. More
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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. More
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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
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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
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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
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Published: 01 October 2021
Figure 8. The basic pattern for an earlier version of Piano Phase . More
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Published: 01 October 2021
Figure 14. (a) The basic pattern of Drumming . (b) Spectra of the left-hand and right-hand rhythms and canons. More
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Published: 01 October 2021
Figure 10. Phase Patterns , m. 1. More
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Published: 01 October 2021
Figure 12. (a) The spectrum of the basic rhythm of Phase Patterns (see Figure 10). (b) The phase space for coefficient 3 and different rotations of the rhythm in this space. More
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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. 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. ...
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Journal Article
Journal of Music Theory (2021) 65 (2): 325–374.
Published: 01 October 2021
...Figure 13. The basic pattern of Violin Phase (a), the double-stops of the pattern (b), and spectra of the double stop rhythm and two canons that serve as the goals of phasing processes (c). ...
FIGURES | View All (38)
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). ...
FIGURES | View All (4)
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...
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...