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pitch class

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Published: 01 October 2022
Figure 2. Summary of Auerbach's pitch-, pitch-class-, and duration-preserving operations. More
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 (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 (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 (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 (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 (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 (2015) 59 (2): 273–320.
Published: 01 October 2015
..., harmonic functions, or pitch centricity. The Dasian space is a closed, nonoctave repeating scalar cycle, where each element is identified by a unique coordination of pitch class and modal quality. The dual description of each element enables both the specification of location in a given cycle...
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): 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...
Journal Article
Journal of Music Theory (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 (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...
Journal Article
Journal of Music Theory (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...
Journal Article
Journal of Music Theory (2022) 66 (1): 1–42.
Published: 01 April 2022
...David E. Cohen Abstract This article explores the advent of two foundational characteristics of the modern concept of harmony inaugurated by Rameau's Traité de l'harmonie (1722): first, that its principal objects are sonorities of three or more distinct pitch classes, that is, consonant...
FIGURES
Journal Article
Journal of Music Theory (2002) 46 (1-2): 285–345.
Published: 01 October 2002
..., Mead appends a footnote to the fol- lowing statement: 287 Twelve-tone rows may be thought of in two complementary ways—as strings of intervals or as strings of pitch classes. Both aspects of row struc- ture are important in our...
Journal Article
Journal of Music Theory (2008) 52 (2): 251–272.
Published: 01 October 2008
... Function between Pitch-Class Sets X and Y.” Journal of Music Theory 45 : 1 -29. Quinn, Ian. 2001 . “Listening to Similarity Relations.” Perspectives of New Music 39 /2: 108 -58. ———. 2006 . “General Equal-Tempered Harmony (Introduction and Part I).” Perspectives of New Music 44 /2: 114...
Includes: Supplementary data
Journal Article
Journal of Music Theory (2005) 49 (1): 45–108.
Published: 01 April 2005
.... Hanson, Howard. 1960 . Harmonic Materials of Modern Music . New York: Appleton-Century-Crofts. Hindemith, Paul. 1942 . The Craft of Musical Composition . Translated by Arthur Mendel. New York: Associated Music Publishers. Huron, David. 1994 . “Interval-Class Content in Equally Tempered Pitch...
Journal Article
Journal of Music Theory (2013) 57 (1): 159–191.
Published: 01 April 2013
... with an informal exposition of five “features” that music may exhibit: conjunct melodic motion, acoustic consonance, harmonic consistency, underlying pitch-class collections of limited size (“macrohar- monies” with fewer than nine notes), and centricity. A confluence of these, Tymoczko believes, defines...
Journal Article
Journal of Music Theory (2016) 60 (2): 181–212.
Published: 01 October 2016
.... and trans. 1987 . The Berg-Schoenberg Correspondence . New York : Norton . Buchler Michael . 2000 . “Broken and Unbroken Interval Cycles and Their Use in Determining Pitch-Class Set Resemblance.” Perspectives of New Music 38 / 2 : 52 – 87 . Callender Clifton Quinn Ian...