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Journal Article
Journal of Music Theory (1 October 2013) 57 (2): 245–286.
Published: 01 October 2013
... (Christensen 1993, 245–47). Furthermore, coincidence theories conclude that the fourth (with its simple ratio of frequencies 3:4) is more consonant or agreeable than the major sixth and the major third (with more complicated ratios 3:5 and 4:5, respectively) (Cohen 1984, 95–96, 103–9). Euler looked...
Journal Article
Journal of Music Theory (1 October 2009) 53 (2): 163–190.
Published: 01 October 2009
... fourteen manuals to the octave, which were originally tuned . . . as an extension of Euler’s 12-tone scheme” (Ellis 1864a, 103).9 Ellis was referring to Euler’s diatonic-chromatic genus, composed of the twelve pitches in the just intonation ratios...
Journal Article
Journal of Music Theory (1 April 2009) 53 (1): 1–56.
Published: 01 April 2009
... meters.5 This number 5  Cohn speaks of the graph-theoretic distance relation pro- example, in converting 1, 2, 4, 12, 36 and 1, 3, 9, 18, 36, viding “finer distinctions” (2001, 301) than those offered by four 3:2 ratios are required: one each for 2 to 3 and 12 to 18 dissimilar-pulse distance...
Journal Article
Journal of Music Theory (1 October 2002) 46 (1-2): 127–151.
Published: 01 October 2002
... 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 believed that melody, harmony and rhythm were all ruled by ratio and proportion. Perhaps ever since, western musicians and music theorists have...
Journal Article
Journal of Music Theory (1 October 2013) 57 (2): 419–431.
Published: 01 October 2013
...), as well as such concepts as “simple proportions” and “sufficiently elementary ratios.” The authors’ idea of grouping structure depends on temporal segmen- tation and, like “paradigmatic” analyses by Nicolas Ruwet (1972) and Jean- Jacques...
Journal Article
Journal of Music Theory (1 October 2015) 59 (2): 321–332.
Published: 01 October 2015
.... Gritten Anthony King Elaine , 203 – 20 . Farnham : Ashgate . Friberg Anders Sundström Andreas . 2002 . “Swing Ratios and Ensemble Timing in Jazz Performance: Evidence for a Common Rhythmic Pattern.” Music Perception 19 / 3 : 333 – 49 . Frigyesi Judit . 1982...
Journal Article
Journal of Music Theory (1 April 2008) 52 (1): 159–180.
Published: 01 April 2008
... concerns actual sounding music created by instruments or the human voice. Described in Neoplatonic terms as a manifestation of Pythagorean numerical ratios, musica instrumentalis is similar in conception to the other two species of musica and cannot...
Journal Article
Journal of Music Theory (1 October 2002) 46 (1-2): 1–56.
Published: 01 October 2002
... (440 cps), or by the logarithm of the frequency. An ordered interval is comprised of an ordered pair of pitches. The size of an interval is given either by the ratio between the respective frequen- cies, or the difference between log frequencies. A certain interval is often chosen in order to...
Journal Article
Journal of Music Theory (1 April 2009) 53 (1): 57–94.
Published: 01 April 2009
... Howat. Cambridge: Cambridge University Press. Friberg, Anders and Andreas Sundström. 2002 . “Swing Ratio and Ensemble Timing in Jazz Performance: Evidence for a Common Rhythmic Pattern.” Music Perception 19 : 333 -49. Frisch, Walter. 1990 . “The Shifting Bar Line: Metric Displacement in...
Includes: Supplementary data
Journal Article
Journal of Music Theory (1 October 2007) 51 (2): 211–243.
Published: 01 October 2007
... from Cohn 2001, 304) pulse levels are isochronous (consisting of evenly spaced pulses) and in which each pulse level relates to the next by a ratio of 2 or 3,1 ensuring that each metric state is “fully consonant” as defined by Cohn (1992b, 8...
Journal Article
Journal of Music Theory (1 October 2002) 46 (1-2): 207–283.
Published: 01 October 2002
Journal Article
Journal of Music Theory (1 April 2005) 49 (1): 141–180.
Published: 01 April 2005
... 1 2 as the major-third D≥ of the upper major third (5 5 ). The difference between them is 128 to 125, or what is called a quarter-tone (quart de ton). Strictly speaking, this name is somewhat misleading, because the ratio between them does not correspond to half a semitone (which...
Journal Article
Journal of Music Theory (1 April 2000) 44 (1): 171–229.
Published: 01 April 2000
..., while they are likely to 181 lump together single notes or pairs of notes with preceding or following notes to form larger groups.16 The ratio of discontinuities within a particular Domain to the total number of events represents an...
Journal Article
Journal of Music Theory (1 October 2006) 50 (2): 291–301.
Published: 01 October 2006
... shift in the very being of sound: Where the Pythagorean tradition of speculative music theory had regarded music as subsisting in proportion—not only on the familiar level of string-length ratios, but also on the level of a kind of rational...
Journal Article
Journal of Music Theory (1 April 2010) 54 (1): 91–105.
Published: 01 April 2010
... ratio- nale for so often using the words of others. Part III involves a side-by-side comparison of borrowed material in three passages from Cavell alongside three musical scores by Ignaz Friedman, Luciano Berio, and the author, respectively. Part IV suggests that Cavell’s theories of...
Journal Article
Journal of Music Theory (1 April 2000) 44 (1): 100–126.
Published: 01 April 2000
... that parallel fifths ensue each lay claim to an autonomy that opposes the organic formative process of a piece of music.29 The simple ratio 2:3 may occur only as a contrast to the other more complex ratios; just as waves break upon the shore, fifths and nonfifths must sound in turn. Only par- allel...
Journal Article
Journal of Music Theory (1 October 2004) 48 (2): 295–324.
Published: 01 October 2004
... various tempi of this work relate to one another as simple ratios, which helps to unify the work.14 Cone’s terse treatment of the connections between adjacent events and the proportional duration between events are precisely the points of departure for the theorists cited above (Kramer, Somfai, and...
Journal Article
Journal of Music Theory (1 October 2010) 54 (2): 283–310.
Published: 01 October 2010
... historical narrative to be defining its specific ratio- nality or its “logical” development. Instead, the question he posed was, given the apparent inherently rational quality of Western musical theory, why did it take so long for Western musical culture to arrive at the harmonic practice taken as...
Journal Article
Journal of Music Theory (1 April 1999) 43 (1): 165–190.
Published: 01 April 1999
... study], they changed by low-order integral ratios.” Further, “if the newly arrived-at tempo was not exactly in proportion, the deviation in time from this exact ratio was in the majority of cases so small that it was below both the order threshold of perception (PT) and the Weber Fraction (WF)” (359...
Journal Article
Journal of Music Theory (1 October 1999) 43 (2): 283–314.
Published: 01 October 1999
... are commonly described by the term “swing.” (I am ignoring a third use of the term, usually with a capital S, to describe a style of jazz associated with the big-band era.) First, the term may be used to describe the ratio between beat divisions. According to this first definition, a series of...