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progression

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Journal Article
Journal of Music Theory (2003) 47 (1): 103–123.
Published: 01 April 2003
...Paul Nauert THE PROGRESSION VECTOR: MODELLING ASPECTS OF POST-TONAL HARMONY Paul Nauert Overview Post-tonal harmonic progressions can be conceived in terms of suc- cessions of pitch class sets (pcsets...
Journal Article
Journal of Music Theory (2010) 54 (2): 283–310.
Published: 01 October 2010
.... It also throws the physiological basis of his music theory into conflict with his ostensibly progressive treatment of non-European musics. Such tensions, along with unevenly successful efforts to resolve them, were by no means atypical of the liberal discourse of his intellectual milieu. Indeed...
Journal Article
Journal of Music Theory (2003) 47 (2): 273–304.
Published: 01 October 2003
...Karl Braunschweig ENLIGHTENMENT ASPIRATIONS OF PROGRESS IN EIGHTEENTH-CENTURY GERMAN THEORY Karl Braunschweig Music considered as an art does nothing else than to enhance the charac- teristics of natural...
Journal Article
Journal of Music Theory (2021) 65 (2): 185–237.
Published: 01 October 2021
... of meter focuses on its technical and bodily dimensions, which links the analysis of meter with issues of social inclusion and exclusion, of learning and unlearning, and of habit and novelty. The article illustrates the implications of this approach with examples from recent progressive metal, where...
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Published: 01 October 2021
Example 25. Reinterpretations of chromatic progressions using the proposed analytic model. Example 25. Reinterpretations of chromatic progressions using the proposed analytic model. More
Journal Article
Journal of Music Theory (2006) 50 (2): 253–275.
Published: 01 October 2006
...) poetical context. A range of late-eighteenth- and early-nineteenth-century thought on both sequential progression and harmonic analysis in general, by Emanuel Aloys Förster, Johann Philipp Kirnberger, and Gottfried Weber, among others, is assayed. Opportunities for chromaticism within the 5 and 6 phases...
Journal Article
Journal of Music Theory (2010) 54 (2): 179–234.
Published: 01 October 2010
... of Motet 7's opening describes the relationship between the underlying contrapunctus and various sonority types, consonant and dissonant, and advances a broader definition for the directed progression. An anomalous progression in Motet 18 suggests that the careful study of sonority may contribute to our...
Journal Article
Journal of Music Theory (2017) 61 (1): 29–57.
Published: 01 April 2017
... seeks to explain Schenker's understanding of these progressions within the context of his approach to prolongation in general. The next section revisits those very issues that Schenker grapples with in his analysis of these progressions, and considers the role that different parameters have...
Journal Article
Journal of Music Theory (2016) 60 (2): 181–212.
Published: 01 October 2016
... level, aligned-cycle families. To conclude, I reexamine a three-voice aligned cycle from the second movement of Berg's String Quartet, op. 3, and investigate cyclic progressions in Thomas Adès's Piano Quintet, Lieux retrouvés , and The Tempest . Aligned-Cycle Spaces...
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 (1): 1–34.
Published: 01 April 2019
...Brett Clement This article establishes an expanded theory of tonicization for harmonic progressions in rock music. While previous discussions of tonicization have largely focused on the role of the V chord, this theory allows for a much larger number of tonicizing chords, which may articulate...
Journal Article
Journal of Music Theory (2020) 64 (1): 1–36.
Published: 01 April 2020
... actually happens in terms of what they expected to happen. Although expectation is frequently invoked when considering very local phenomena (e.g., step-by-step progressions) or very global ones (e.g., the action spaces of a sonata), it has not played a systematic role in the analysis of basic theme types...
Journal Article
Journal of Music Theory (2020) 64 (2): 203–240.
Published: 01 October 2020
... limitations of corpus study as contrasted with close reading of individual movements. The close readings underscore the need to engage both circumpolar norms and progressive linear developments, even in music written in the last decades of the nineteenth century. 203 Journal of Music Theory 64:2, October 2020...
Journal Article
Journal of Music Theory (2011) 55 (1): 43–88.
Published: 01 April 2011
...Joseph N. Straus This article creates transformational spaces for interpreting progressions of sets belonging to the same T/I equivalence class. Within these spaces, sets are placed in proximity based upon contextual inversion , specifically those contextual inversions that (like the familiar neo...
Includes: Supplementary data
Journal Article
Journal of Music Theory (2006) 50 (2): 211–251.
Published: 01 October 2006
... simultaneously as a local, harmonic event and as a global, formal event. On the local level, it may either prolong one harmony or progress from one to another. On the global level, it can serve a variety of formal functions: highlighting salient cadences; opening a space for virtuosic display; and developing...
Journal Article
Journal of Music Theory (2007) 51 (1): 5–49.
Published: 01 April 2007
... principles, Heinichen works through the many tensions and contradictions between the modern Klang progression, as formalized in the Rule of the Octave, and the old legacy of traditional counterpoint instruction. 2007 2007 Heinichen, Rameau, and the Italian Thoroughbass Tradition Concepts of Tonality...
Journal Article
Journal of Music Theory (2003) 47 (2): 325–362.
Published: 01 October 2003
... the term cadentia to describe the progression of an imperfect con- cord to a perfect,8 neither he nor any other fourteenth-century writer dis- cusses appropriate ways to conclude musical phrases or sections contra- puntally; they say only that discant and organum should end with a perfect sonority.9...
Journal Article
Journal of Music Theory (2013) 57 (1): 159–191.
Published: 01 April 2013
... find this model persuasive and poietically sugges- tive, as the author intends. The other is specifically historical, asserting that development of Western polyphony can be understood as progressively more elaborate attempts to realize all five features, whose...
Journal Article
Journal of Music Theory (2016) 60 (2): 149–180.
Published: 01 October 2016
... progression as anything other than a true cadence to tonic. Second, the IV–I cadence contrasts with other cadences in this same song based on the more traditional V chord. The half cadence in m. 7 is on V, and the structural cadence that ends the chorus section is V–I. These facts challenge some...
Journal Article
Journal of Music Theory (2000) 44 (1): 45–79.
Published: 01 April 2000
... of the “directed progression”—a term which will be adopted here— as a fundamental articulation within the fourteenth-century song and motet repertory. Fuller’s work derives from aspects of fourteenth-century counterpoint teaching, but she does not systematically use it diagnosti- cally to realize the musical...