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Published: 01 October 2022
Journal Article
Journal of Music Theory (2020) 64 (2): 241–281.
Published: 01 October 2020
...Nathan L. Lam This article develops the notion of modal spelled pitch class by combining Julian Hook’s theory of spelled heptachords and Steven Rings’s heard scale degree. Modal spelled pitch class takes the form of an ordered triple that includes the key signature, the generic pitch classes...
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 (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 (2002) 46 (1-2): 127–151.
Published: 01 October 2002
...Justin London SOME NON-ISOMORPHISMS
BETWEEN PITCH AND TIME
Justin London
1. Claims of Isomorphism
The idea that a single principle governs each and every musical para-
meter goes back at least to the Pythagoreans, who...
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Published: 01 October 2022
Figure 1. Summary of Auerbach's symbols for representing pitch motives.
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Published: 01 April 2023
Figure 20. Inversional pitch center versus semitonal span performance space for Intermission 6.
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Published: 01 April 2023
Figure 21. Two realizations of Intermission 6 depicted in inversional pitch center versus semitonal span performance space, by (a) Sabine Liebner and (b) Philip Thomas (second version).
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in Lutosławski's Mid-Century Harmony: Reconceptualizing Chordal Space in the Five Iłłakowicz Songs
> Journal of Music Theory
Published: 01 October 2023
Figure 15. Pitch reduction of “Metamorphoses” (second movement of Musique funèbre ): (a) in sections (Métamorphoses) 1 and 6, P-rows are integrated within Locrian segments; (b) integration of P-row space within an affinity cycle A 5 : 2–2–1-cycle, which embeds Locrian segments.
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Published: 01 April 2024
Figure 2. (a) The slow phrase in thirds from “Ornette,” at sounding pitch. (b) The slow phrase in thirds (0:06–0:10) from “Congeniality” by Ornette Coleman, off of the 1959 album The Shape of Jazz to Come , also at sounding pitch. The players in both transcriptions are indicated by initials: RM
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Journal Article
Journal of Music Theory (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...
Journal Article
Journal of Music Theory (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 (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 (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...
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in Lutosławski's Mid-Century Harmony: Reconceptualizing Chordal Space in the Five Iłłakowicz Songs
> Journal of Music Theory
Published: 01 October 2023
Example 1. Lutosławski's “Morze,” Iłłakowicz Songs : mm. 20–23. The two lists of pitch classes represent the registral ordering of pitches, from lowest to highest.
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Journal Article
Journal of Music Theory (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 (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 pitch...
Journal Article
Journal of Music Theory (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. Works...
Journal Article
Journal of Music Theory (2019) 63 (2): 231–260.
Published: 01 October 2019
...Stephen Guerra Pitch spaces such as the circle of fifths model change through time in a composition, recording, or improvisation. Metric spaces theorized over the past twenty years do the same for changes (notated or not) in meter. Trajectories in either space and their potentially reinforcing...
Journal Article
Journal of Music Theory (2019) 63 (2): 167–207.
Published: 01 October 2019
... properties of these spaces derive from the properties of diatonic pitch-class sets and generic pitch spaces developed by Clough and Hook. After presenting the construction of these voice-leading spaces and defining the OPTIC relations in mod-7 space, this article presents the mod-7 OPTIC -, OPTI -, OPT...
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