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point
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Image
Published: 01 April 2021
Figure 1. Music theorists tend to conceive of beats as points separated by spans (numbers above). Dancers tend to conceive of beats as spans separated by points (numbers in boxes).
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Journal Article
Journal of Music Theory (2009) 53 (2): 227–254.
Published: 01 October 2009
...Dmitri Tymoczko Taking David Lewin's work as a point of departure, this essay uses geometry to reexamine familiar music-theoretical assumptions about intervals and transformations. Section 1 introduces the problem of “transportability,” noting that it is sometimes impossible to say whether two...
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.
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Journal Article
Journal of Music Theory (2010) 54 (2): 143–177.
Published: 01 October 2010
..., semiregular, faithful, and diagonal cases, among others. Three general situations arise: First, the commuting group for a group with an action that is merely transitive is isomorphic to the normalizer of a point stabilizer modulo the point stabilizer. Second, the commuting group for a diagonal subgroup...
Journal Article
Journal of Music Theory (2008) 52 (2): 181–218.
Published: 01 October 2008
... “display episodes”—appear to highlight performative prowess at the expense of compositional invention. As such, beyond an acknowledgment of the appropriateness of stock passagework at this point, analysis can have little to say: the episodes are either self-evidently simple or transparent to theoretical...
Journal Article
Journal of Music Theory (2012) 56 (1): 1–52.
Published: 01 April 2012
...Dmitri Tymoczko This article relates two categories of music-theoretical graphs, in which points represent notes and chords, respectively. It unifies previous work by Brower, Callender, Cohn, Douthett, Gollin, O’Connell, Quinn, Steinbach, and myself, while also introducing new models of voice...
Journal Article
Journal of Music Theory (2012) 56 (2): 121–167.
Published: 01 October 2012
... pratique (1760), with particular attention to the extensive discussion of the topic in the “Art de la basse fondamentale” (c. 1737–43). To a considerable degree, Rameau’s conception of supposition was worked out in dialogue with his critics. Retracing that dialogue helps to clarify a number of points...
Journal Article
Journal of Music Theory (2010) 54 (1): 107–120.
Published: 01 April 2010
... of the modernist project while rejecting musical experiments that went too far in the direction of abstraction, opacity, or self-indulgence. From this point of agreement, differences emerge between Cavell and Deleuze over exactly how philosophy might prescribe a virtuous, sober, or ethical version of musical...
Journal Article
Journal of Music Theory (2011) 55 (2): 221–251.
Published: 01 October 2011
... among which is the absence of a single example of a complete movement from existing music that embodies the form. Taking the perceived weaknesses of his discussion as a starting point, I argue that they are in fact the result of an ambitious and sophisticated approach to form, which depends on a more...
Journal Article
Journal of Music Theory (2010) 54 (1): 121–140.
Published: 01 April 2010
... entitled “Philosophy and the Unheard,” of a particular moment in Adorno's Philosophy of New Music . In reading this moment in Cavell—in reading Cavell reading Adorno—the present article seeks to demonstrate that with this critique, Cavell's philosophy of music swerves from Adorno's precisely at the point...
Journal Article
Journal of Music Theory (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 (2015) 59 (2): 235–271.
Published: 01 October 2015
...; points of contact between them provide insight into precise agents of musical change around the turn of the seventeenth century. Megan Kaes Long is assistant professor of music theory at the Oberlin College Conservatory of Music. © 2015 by Yale University 2015 Thomas Morley Giovanni...
Journal Article
Journal of Music Theory (2016) 60 (1): 1–21.
Published: 01 April 2016
...Robert P. Morgan Taking my own Schenker-derived view of dissonant prolongations as a point of departure, this article attempts to clarify this phenomenon by considering it in relation to tonal prolongation. This is accomplished in three ways: by reconsidering Schenker's mature attitude toward...
Journal Article
Journal of Music Theory (2016) 60 (1): 23–50.
Published: 01 April 2016
... − 1, where n equals cardinality. This notation identifies pitches solely by their relative height, thereby eschewing any reference to specific interval size and effectively transforming pitches in pitch space into contour pitches in contour space. The variable end-point mechanism this procedure...
Journal Article
Journal of Music Theory (2022) 66 (1): 63–91.
Published: 01 April 2022
... on several central points (e.g., ties to Italian partimento pedagogy in Paris, to Ramellian fundamental bass in Vienna, and to Weberian Roman numeral analysis in Leipzig), they also have some fundamental similarities that drew the borders—the defining limits—of conservatory music theory. The author argues...
FIGURES
Journal Article
Journal of Music Theory (2008) 52 (1): 41–74.
Published: 01 April 2008
...Cristle Collins Judd This article takes Thomas Morley's A Plaine and Easie Introduction to Practicall Musicke (1597) as a point of departure for exploring a group of sixteenth-century texts that place music, especially as represented by musical notation, within the form of a dialogue. Music...
Image
Published: 01 October 2023
” phrases (shown with a double asterisk). Row 6: All high points are in the C5 octave, high points higher in repetition are underlined. Row 7: Texture is in numbers of voices.
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Image
in Benjamin Britten's Musical Characterization of the Madwoman in Curlew River
> Journal of Music Theory
Published: 01 April 2024
Example 1. At reh. 20 of Britten's Curlew River , a D-pedal tonic frames the Madwoman's inversionally symmetric melodies. (In the introduction to the published score [Britten 1983 : ix–x], Imogen Holst uses the term figure to refer to the ordered sequence of reference points within Curlew
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Journal Article
Journal of Music Theory (2021) 65 (1): 11–16.
Published: 01 April 2021
...Figure 1. Music theorists tend to conceive of beats as points separated by spans (numbers above). Dancers tend to conceive of beats as spans separated by points (numbers in boxes). ...
FIGURES
Journal Article
Journal of Music Theory (2022) 66 (2): 280–290.
Published: 01 October 2022
..., there is rarely any ambiguity about which archetype is most appropriate for a piece, as the choice of archetype follows logically from one initial decision about a piece's structure: the location of the Focal Point. Figure 4. Two analyses from Auerbach of the secondary theme from Rossini's overture...
FIGURES
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