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Journal Article
Journal of Music Theory (2022) 66 (1): 43–62.
Published: 01 April 2022
...Caleb Mutch Abstract This article illuminates the modern concept of the triadic root by analyzing that concept and explaining how the English-speaking world came to refer to it with the term root . To do so, it begins by identifying five subconcepts on which theorists have drawn when explaining...
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Published: 01 October 2021
Example 6. Root and bass motion classification and the Guidonian diatonic. More
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Published: 01 October 2022
Example 1. Duple and triple accent groupings in an excerpt from The Roots featuring Dice Raw, “Lighthouse” (2011, 2:20–2:27), emceed by Black Thought (Ohriner's example 3.14b, 63). More
Journal Article
Journal of Music Theory (2017) 61 (2): 143–170.
Published: 01 October 2017
..., and bridge sections in a corpus of two hundred rock songs. I begin with an overview of the corpus itself, followed by a discussion of my methodology. I then present the results of my study, which quantifies harmony via two main approaches: the proportion of time spent on a chord root and the average duration...
Journal Article
Journal of Music Theory (2016) 60 (2): 149–180.
Published: 01 October 2016
... by chords unrelated to V, such as IV, ii, ♭VII, or even versions of I. A theory of harmonic function rooted in chord category—e.g., ascribing dominant function to any chord related to V—inadequately accounts for rock's harmonic organization. I argue that syntactical elements underlie many existing...
Journal Article
Journal of Music Theory (2017) 61 (2): 243–287.
Published: 01 October 2017
... are familiar from neo-Riemannian theory; the third relates a major triad to the minor triad with a root three semitones higher (such as C major and E♭ minor). The PSM framework exhibits two properties ideally suited to an atonal triadic style. First, as each relation belongs to a different common-tone class...
Journal Article
Journal of Music Theory (2020) 64 (1): 63–103.
Published: 01 April 2020
... apply in numerous other contexts besides patterns of chord roots. 63 Journal of Music Theory 64:1, April 2020 DOI 10.1215/00222909-8033433 © 2020 by Yale University Generic Sequences and the Generic Tonnetz Julian Hook Abstract This article employs concepts from diatonic set theory, transformation...
Journal Article
Journal of Music Theory (2021) 65 (2): 239–285.
Published: 01 October 2021
...Example 6. Root and bass motion classification and the Guidonian diatonic. ...
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Journal Article
Journal of Music Theory (2017) 61 (1): 29–57.
Published: 01 April 2017
..., there are many examples where the prolonged chord differs from the one being arpeggiated. Many of these involve a downward arpeggiation of a triad from fifth to root that connects two different harmonies. This article examines the prolongational issues involved in this type of arpeggiation. The first section...
Journal Article
Journal of Music Theory (2021) 65 (1): 11–16.
Published: 01 April 2021
...Richard Cohn Abstract Scholars of music and dance have subtly different conceptions of musical time, which can lead to misunderstandings in interdisciplinary communication. These conceptual distinctions may be rooted in the embodied experience of performance: the energy required to create dance...
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Published: 01 October 2023
Figure 7. Repetition of parallel passages. Row 1: Example numbers are given for reference. Row 2: Bits of text are shown as reminders. Row 3: Parallel passages are aligned vertically, verse numbers are in boldface, note names indicate roots of initial and final chords, and italicized letters More
Journal Article
Journal of Music Theory (2023) 67 (1): 141–169.
Published: 01 April 2023
... progressions, those between triads root-related by major third in particular have played a prominent role in such scholarship. Some theorists have focused on hexatonic poles, such as {C minor ↔ E major}, which pair such triads that are inversionally related and share no common tones, claiming a nineteenth...
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Journal Article
Journal of Music Theory (2002) 46 (1-2): 207–283.
Published: 01 October 2002
... also present some ideas about the connection between structure and expression in the two songs. For reasons of space, however, the com- 208 parison between the structural readings and musical experience and ex- pression is mostly left to the reader. 1.1. Perceptual Background: Harmonic Root...
Journal Article
Journal of Music Theory (2012) 56 (2): 293–298.
Published: 01 October 2012
...) and the matter of chordal root identification (which is shown, in some cases, to hinge not only upon the notes present but also upon the basic principles underlying the analyst’s system of harmonic thought—as in the required assignment of G as an implicit root for a sounding chord B–D–F to avoid...
Journal Article
Journal of Music Theory (2005) 49 (2): 301–332.
Published: 01 October 2005
... of nonfunctional chords; Patricia Julien has written that a nonfunctional chord does not interact with its fellow chords in a key-defining manner and that “the motion it expresses is generally linear and does not rely on root relations of a fifth or the traditional resolutions of active degrees” (2001, 53...
Journal Article
Journal of Music Theory (2000) 44 (1): 100–126.
Published: 01 April 2000
..., or could occur, as a six-four chord. The tonic scale degree C thus changes from root [of I] to fifth [of IV], and then to fourth in the six-four chord, by which means it appears in conflict with itself.10 It is then suppressed completely by the upper dominant so as to be sum- moned again. [11] I see...
Journal Article
Journal of Music Theory (2002) 46 (1-2): 57–126.
Published: 01 October 2002
... and M discussed above, and undoubtedly bears some responsibility for the fact that satisfactory applications of neo-Riemannian methodology, even in highly chromatic music, have generally been confined to isolated short passages. The theory is said to disregard the concept of chord roots, which has...
Journal Article
Journal of Music Theory (2013) 57 (1): 159–191.
Published: 01 April 2013
... that is independent of the various BMOs it represents,5 and it allows him to adopt a familiar chord-naming con- vention (root and quality) that he never formally defines. 5 Indeed, Tymoczko treats pitch-class sets as anthro­ class circle on which one can plot two chords simply...
Journal Article
Journal of Music Theory (2022) 66 (2): 291–302.
Published: 01 October 2022
...). Analyzing the “subtle, low-energy means” (121) by which Duruflé, in the Requiem Introit, animates exquisite coloristic fluctuation over D and F roots, Harrison illustrates the flexibility of overtonal analysis. Remarking on the retrospective clarification of Fmaj7 as an amplified tonic in Pankow's “Colour...
Journal Article
Journal of Music Theory (2013) 57 (2): 287–320.
Published: 01 October 2013
... system of the example Heinichen begins with what we would call a root position chord, from which a first inversion chord is derived, in the second system it is just the opposite— Heinichen begins with a first inversion chord from which he drives a root 1...