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Journal Article
Journal of Music Theory (1 October 2008) 52 (2): 219–249.
Published: 01 October 2008
...Justin Hoffman Recent music-theoretical research has proposed two ways of mapping the pitch-class set universe. Fourier spaces, constructed by Quinn, relate sets to one another based upon their composition from members of interval cycles, reflecting what might be called “harmonic quality.” Voice...
Journal Article
Journal of Music Theory (1 October 2002) 46 (1-2): 127–151.
Published: 01 October 2002
..., and John Feroe. 1981 . “The Internal Representation of Pitch Sequences in Tonal Music.” Psychological Review 88 ( 6 ): 503 -22. Fraisse, Paul. 1987 . “Rhythm and Tempo.” in The Psychology of Music , ed. Diana Deutsch. New York: Academic Press, 149 -80. Gabrielsson, Alf, Ingmar Bengtsson...
Journal Article
Journal of Music Theory (1 April 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 (1 October 2007) 51 (2): 277–332.
Published: 01 October 2007
...Clifton Callender This article generalizes Ian Quinn's recent harmonic characterization of pitch-class sets in equal tempered spaces to chords drawn from continuous pitch and pitch-class spaces. Using the Fourier transform, chords of any real-valued pitches or pitch classes are represented by their...
Journal Article
Journal of Music Theory (1 April 2016) 60 (1): 23–50.
Published: 01 April 2016
...Rob Schultz The advent of the numerical representation of contour was a watershed in the development of musical contour theory. Both Michael L. Friedmann and Robert D. Morris pioneered the practice by mapping pitches in ascending registral order onto the subset of nonnegative integers from 0 to n...
Journal Article
Journal of Music Theory (1 October 2009) 53 (2): 227–254.
Published: 01 October 2009
..., since some musical spaces have natural boundaries. It also notes that there are spaces, including the familiar pitch-class circle, in which there are multiple paths between any two points. This leads to the suggestion that we might sometimes want to replace traditional pitch-class intervals with paths...
Journal Article
Journal of Music Theory (1 October 2015) 59 (2): 273–320.
Published: 01 October 2015
...José Oliveira Martins The article proposes that a construct I call the Dasian space provides an effective framework to interpret harmonic aspects of scale relations in twentieth-century polymodality, particularly in the music of Bartók. Based on Bartók's intuition that the pitch space modeled after...
Journal Article
Journal of Music Theory (1 October 1999) 43 (2): 193–230.
Published: 01 October 1999
...Brian Alegant This paper proposes a refinement of our understanding of pitch-class inversion in atonal and twelve-tone music. Part I of the essay establishes the theoretical foundation. It reviews the index number approach formulated by Milton Babbitt, examines characteristics of even and odd index...
Journal Article
Journal of Music Theory (1 October 2016) 60 (2): 213–262.
Published: 01 October 2016
...Jason Yust The discrete Fourier transform on pitch-class sets, proposed by David Lewin and advanced by Ian Quinn, may provide a new lease on life for Allen Forte's idea of a general theory of harmony for the twentieth century based on the intervallic content of pitch-class collections. This article...
Journal Article
Journal of Music Theory (1 October 2009) 53 (2): 163–190.
Published: 01 October 2009
...Anna Gawboy The English concertina, invented by the physicist Charles Wheatstone, enjoyed a modest popularity as a parlor and concert instrument in Victorian Britain. Wheatstone designed several button layouts for the concertina consisting of pitch lattices of interlaced fifths and thirds, which he...
Journal Article
Journal of Music Theory (1 October 2008) 52 (2): 273–320.
Published: 01 October 2008
... three categories of the texture based on degrees of metrical dissonance: weakly, moderately, and strictly tiered polyphony. The last form is special not only for its rarity but also for the extreme independence of its lines, which create supermetrical dissonance through pitch cells and/or pitch-interval...
Journal Article
Journal of Music Theory (1 April 2018) 62 (1): 85–118.
Published: 01 April 2018
... with the thematic process, whereby the network of pitch relations becomes drawn into the unfolding of the work’s motivic logic. It is argued that, under Sibelius’s extreme the-maticism, melodic organization intersects with macroharmony and scale, blurring the distinction between hierarchical levels of...
Journal Article
Journal of Music Theory (1 October 2018) 62 (2): 279–338.
Published: 01 October 2018
...Joseph N. Straus Pitch sets and pitch-class sets whose integers share the same sum are connected by pure contrary voice leading and share a center of balance. This article studies progressions of chords that may belong to different T/I set-classes but that belong to the same sum class. sum sum...
Journal Article
Journal of Music Theory (1 April 2015) 59 (1): 121–181.
Published: 01 April 2015
...Jason Yust This article introduces a type of harmonic geometry, Fourier phase space, and uses it to advance the understanding of Schubert’s tonal language and comment upon current topics in Schubert analysis. The space derives from the discrete Fourier transform on pitch-class sets developed by...
Journal Article
Journal of Music Theory (1 October 2009) 53 (2): 191–226.
Published: 01 October 2009
... numerous aspects of the voice exchange and its analytical applications, including (1) the distinction between functional exchanges and pitch swaps that represent little more than optical illusions, (2) operative voice exchanges that are difficult or impossible to see in the literal score, (3) exchanges...
Journal Article
Journal of Music Theory (1 October 2013) 57 (2): 193–243.
Published: 01 October 2013
...Jeffrey DeThorne Correlating particular instrumental colors with pitch chromaticism, three early twentieth-century scholars demonstrate how a methodical use of colorful winds, less colorful strings, and wind-string mixtures informed actual orchestrational practices. After demonstrating how Wagner’s...
Journal Article
Journal of Music Theory (1 October 2013) 57 (2): 245–286.
Published: 01 October 2013
... theory of consonance to assess and explain the interaction of rhythms as well as the interaction of pitches. At several points in his 1739 Tentamen novae theoriae musicae ( Attempt at a New Theory of Music ), Euler suggests that everything he has written about consonance should also apply to duration...
Journal Article
Journal of Music Theory (1 October 2012) 56 (2): 225–283.
Published: 01 October 2012
... 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 (1 October 2013) 57 (2): 321–371.
Published: 01 October 2013
...Seth Monahan For centuries, metaphors of agency have pervaded music-analytical writing. Today, as in generations past, critics routinely vivify their analytical narrations by ascribing sentience, emotion, and volition to musical works, their internal elements (pitch classes, contrapuntal voices...
Journal Article
Journal of Music Theory (1 October 2018) 62 (2): 165–204.
Published: 01 October 2018
... principle produces an ordering of pitch classes that lies behind small formal units, cycles order the presentation of twelve-tone rows and give structure to large formal spans. The present study explores four cyclic organizational principles in works from the String Quartet, op. 28 (1938), to the Second...