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rhythmic canon

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Journal Article
Journal of Music Theory (2021) 65 (2): 325–374.
Published: 01 October 2021
...Jason Yust Abstract This article demonstrates how to obtain a periodicity-based description of cyclic rhythms using the discrete Fourier transform and applies this to understanding Steve Reich's use of rhythmic canons in a series of works from the early 1970s through the 1990s. The primary...
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Journal Article
Journal of Music Theory (2009) 53 (1): 137–162.
Published: 01 April 2009
... and favoritism—Lewin 1987, for example, includes some con- chromatic styles (e.g., Wagner, Chopin) to serial ones (e.g., sideration of time intervals and rhythmic sets—and to the Second Viennese and Darmstadt schools). extent that one can pinpoint a transformational canon of Journal of Music...
Journal Article
Journal of Music Theory (2009) 53 (1): 57–94.
Published: 01 April 2009
... the Mazurka in A≤ major, op. 59/2, and the Mazurka in C≥ minor, op. 63/3.4 Some readers may find the performance practices that I describe to be strange and exaggerated, so before proceeding I would like to point out that Paderewski’s rhythmic sensibility won him high praise early in his career...
Includes: Supplementary data
Journal Article
Journal of Music Theory (1999) 43 (1): 1–19.
Published: 01 April 1999
... constantly, are distin- guished by rhythmic placement.21 Which voice is leading, and how that relates to the underlying row structure, is one of the central issues of the movement. In any given portion of the piece, each hand is projecting a single voice of the canon, but changes of which hand is leading...
Journal Article
Journal of Music Theory (2014) 58 (1): 1–24.
Published: 01 April 2014
.... The consequences of such changes are most often purely tonal in nature, giving rise to modulations that would otherwise take place during episodes. Much less frequently, tonal and rhythmic transformations of the subject may occur simultaneously, as in the fugue from the Sinfonia that opens Partita no. 2 in C minor...
Journal Article
Journal of Music Theory (2023) 67 (2): 333–338.
Published: 01 October 2023
... be sixteen bars, but not necessarily; and it will have at least some similarity to other “Sweet Thing”–type songs based on its rhythmic, melodic, and harmonic characteristics. The scheme is thus not so much a formal type as it is a “cluster of variants” (194). Stoia has compiled and selected “Sweet Thing...
Journal Article
Journal of Music Theory (2011) 55 (2): 253–264.
Published: 01 October 2011
... of Brahms, should so explicitly place rhythm and meter at the very center of their creative activity. Perhaps we should take their words as an incentive, when working with song in general and Lieder in par- ticular, to bring rhythmic and metric matters closer to the center of our own analytical...
Journal Article
Journal of Music Theory (2022) 66 (1): 129–134.
Published: 01 April 2022
... to the chapter's clinching detail: the discovery of a letter Bartók wrote to the Kolisch Quartet in 1934 documenting Bartók's own conception of the rhythms. Throughout the chapter, Leong revises a series of hypotheses to explain differences in rhythmic execution apparent in audio excerpts (again included...
Journal Article
Journal of Music Theory (1999) 43 (2): 349–358.
Published: 01 October 1999
... song in the final movement—from Stefan George’s translation of Baudelaire’s sonnet “De profundis cla- mavi”—decisively changed Berg’s biography and lead to the view that the composer’s twelve-tone music is a personal chronicle of a tragic love story, indicated by pitch, rhythmic, tempo, and formal...
Journal Article
Journal of Music Theory (2001) 45 (2): 233–261.
Published: 01 October 2001
... directional works discussed in the literature because it is resistant to existing analytical criteria. While any attempt to define its coherence must at least address these two fundamental questions, it will be neces- sary to address rhythmic and motivic aspects as well (in sections II and III). In her...
Journal Article
Journal of Music Theory (2021) 65 (2): 185–237.
Published: 01 October 2021
... with a more cerebral, mental engagement, especially where the auditory surface is woven from dense rhythmic strands. For example, in her part ethnographic, part analytic study of the music of Meshuggah, Olivia Lucas ( 2018 ) notes that for some fans a live concert is an opportunity to release their physical...
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Journal Article
Journal of Music Theory (2023) 67 (2): 209–249.
Published: 01 October 2023
... to do with twelve-tone music” (Varga 1976 : 11). In Musique funèbre , a piece for string orchestra written in the memory of Béla Bartók, the compositional play of the outer sections (“Prologue” and “Epilogue”) is structured by a sharp restriction of row intervals, rhythmic values, and a canonic...
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Journal Article
Journal of Music Theory (2016) 60 (2): 181–212.
Published: 01 October 2016
... . Martins José Oliveira . 2011 . “Interval Cycles, Affinity Spaces, and Transpositional Networks.” In Mathematics and Computation in Music , ed. Agon Carlos , 126 – 39 . Berlin : Springer . McManus Andrew . 2009 . “Nancarrow's Rhythmic Structures in Thomas Adès' Asyla...
Journal Article
Journal of Music Theory (2000) 44 (1): 171–229.
Published: 01 April 2000
... . A Generative Theory of Post-tonal Music . Cambridge, Mass.: MIT Press. Marvin, Elizabeth West. 1991 . “The Perception of Rhythm in Non-Tonal Music: Rhythmic Contours in the Music of Edgard Varèse.” Music Theory Spectrum 13 (1): 61 -78. Meyer, Leonard B. 1956 . Emotion and Meaning in Music...
Journal Article
Journal of Music Theory (2021) 65 (2): 375–386.
Published: 01 October 2021
..., to avoid reinforcing the biases of the rock canon. Despite these issues, the book contains much valuable material for analysts of popular music. The introductory chapter outlines the book's structure and scope and defines the terms in the title. Temperley uses the term musical language to situate...
Journal Article
Journal of Music Theory (2001) 45 (1): 73–118.
Published: 01 April 2001
...David Burn 2001 © Yale University, New Haven, Connecticut 06520 2001 Apel, Willi, “Imitation Canons on `L'homme armé'.” Speculum 25 ( 1950 ), 367 –73. Bent, Margaret, “Diatonic ficta.” Early Music History 4 ( 1984 ), 1 –48. Bernstein, Lawrence F., “La Couronne et Fleur...
Journal Article
Journal of Music Theory (2012) 56 (2): 169–223.
Published: 01 October 2012
..., and rhythmic pat- terns. The study of syntax, however, has not been limited to individual musical elements, such as notes. For instance, it has figured prominently in important recent work that aims to characterize musical style in terms of psychological schemata (Gjerdingen 1988a, 2007). This line...
Journal Article
Journal of Music Theory (2003) 47 (2): 225–272.
Published: 01 October 2003
... treats a sequence along the following lines: 1. A pattern is a musical object constituted by harmonic, melodic, rhythmic, and metric features. The length of the pattern can be described by its rhythmic/metric duration as well as by the num- ber of its discrete harmonic states (chord...
Journal Article
Journal of Music Theory (2006) 50 (1): 111–127.
Published: 01 April 2006
....” Music Theory Online 13/3 . Lewin, David. 1969 . “Behind the Beyond: A Response to Edward T. Cone.” Perspectives of New Music 7/2 : 59 –69. Lewin, David. 1981 . “Some Investigations into Foreground Rhythmic and Metric Patterning.” In Music Theory: Special Topics , ed. Richmond Browne, 101...
Journal Article
Journal of Music Theory (1999) 43 (2): 193–230.
Published: 01 October 1999
... the ultimate compression of the once-staggered canons of the opening. Example 3a provides a first-species reduction of the passage; Example 3b gives the realization. Pc and sc reductions are provided below the excerpts. The first-species structure in Example 3a projects four lynes simulta- neously...