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Journal Article
Journal of Music Theory (1 October 2018) 62 (2): 165–204.
Published: 01 October 2018
...Brian Moseley In his late compositions Webern exhibited a predilection for many types of cyclic organization, involving intervals, motives, contours, and twelve-tone rows; in particular, cyclic row organization provided Webern a means of serial structure beyond the row. Much as the twelve-tone...
Journal Article
Journal of Music Theory (1 October 2015) 59 (2): 191–234.
Published: 01 October 2015
...Stephen C. Brown Starting in the late 1960s Shostakovich used twelve-tone rows in many of his most significant compositions. These rows usually occur melodically within individual vocal or instrumental parts and function as part of a larger musical fabric that does not otherwise involve twelve-tone...
Journal Article
Journal of Music Theory (1 October 1999) 43 (2): 349–358.
Published: 01 October 1999
...” (47). The one exception is an “added note” in the transposi- tional canons in the third movement, which Perle interprets as an inten- tional “mistake” inserted by Berg, but one more along the lines of the unusual retrograde-inversion row used to underscore Alwa’s comment “Radaktion weiss keiner...
Journal Article
Journal of Music Theory (1 October 2002) 46 (1-2): 285–345.
Published: 01 October 2002
... about aggregates and twelve-tone rows in chapter 1, Mead appends a footnote to the fol- lowing statement: 287 Twelve-tone rows may be thought of in two complementary ways—as strings of intervals or as strings of pitch classes. Both...
Journal Article
Journal of Music Theory (1 April 2010) 54 (1): 121–140.
Published: 01 April 2010
... [repre- sented Lewin goes on to propose that “the musical metaphor that reflects (or better defines) the dramatic idea is the nature of the twelve-tone row and sys- tem as ‘musical idea’ in Schoenberg’s terminology. The ‘row’ or ‘the musical idea’ is not a concrete and specific...
Journal Article
Journal of Music Theory (1 April 2017) 61 (1): 111–140.
Published: 01 April 2017
... variations, start- ing with an overview of one particular path that Hauptmann’s linear rows, in the hands of two of his students, Louis Köhler and Otto Bähr, followed toward the Tonnetz. By way of demonstration, I then present several analyses of...
Journal Article
Journal of Music Theory (1 October 2002) 46 (1-2): 1–56.
Published: 01 October 2002
... ambiguities, and d the number of differences. Example 2 shows the intervals that can be derived from the Japanese pentatonic, the In scale, the best known mode of which is hirajoshi. The generic labels given for each row are the “spans” discussed earlier. The scale is trivalent: each generic interval...
Journal Article
Journal of Music Theory (1 April 2019) 63 (1): 35–70.
Published: 01 April 2019
... Maria . 1991 . In a Pinch . Kendor Music, Inc. , 3248 . Score. Schneider Maria . 1998 . Maria Schneider Orchestra: Evanescence , edited by Sturm Fred . Universal Edition . Schneider Maria . 2001 . “ Maria Schneider .” Interview by Rowe Monk Archive Fillius Jazz...
Journal Article
Journal of Music Theory (1 October 1999) 43 (2): 193–230.
Published: 01 October 1999
...-century Music . New Haven: Yale University Press, 1990 . Forte, Allen. The Structure of Atonal Music . New Haven: Yale University Press, 1973 . Klumpenhouwer, Henry. “Aspects of Row Structure and Harmony in Martino's Impromptu Number 6,” Perspectives of New Music 29 /2 ( 1991 ): 318 –54...
Journal Article
Journal of Music Theory (1 April 2001) 45 (1): 31–71.
Published: 01 April 2001
... of transforms (P, I, R, RI) to participate in the enlargement process.19 Twelve-tone music. We shall now examine an enlargement procedure in Schoenberg’s Piano Concerto, op. 42. In this context the ordered string is the tone row shown in Example 8a. As is customary in his “American period...
Journal Article
Journal of Music Theory (1 October 2001) 45 (2): 345–433.
Published: 01 October 2001
...>, traced by the highest tones in mm. 1–2; <C4, D≤4, F4>, by the lowest tones in mm. 1–4; and <D5, B≤5, A5>, by the high notes in mm. 6–7. Those familiar with Babbitt’s compositional practices may sus- pect that at least some of the six trichordal pcsegments we have men- tioned are row segments; this is...
Journal Article
Journal of Music Theory (1 April 2004) 48 (1): 99–141.
Published: 01 April 2004
..., mf, f, ff}. Figure 2a defines a mapping between them via a two-col- umn table. In a mapping table the order of the rows does not matter (though the order of items within each row does). For example, C≥ in Fig- ure 2a is associated with p regardless of the row order. Mappings between unlike sets...
Journal Article
Journal of Music Theory (1 October 2009) 53 (2): 163–190.
Published: 01 October 2009
... Alfred B. Sedgwick (Atlas 1996, 52). The concertina’s pitches are partitioned between two fingerboards, located on either end of the instrument, with buttons arranged in four rows for each hand. The two inner rows on each face consist of a cyclic...
Journal Article
Journal of Music Theory (1 October 2001) 45 (2): 263–343.
Published: 01 October 2001
... 11 10 10 10 10 10 5 10 10 10 10 10 5 12 12 12 12 12 12 6 12 12 12 12 12 6 Figure 3. Min(c, i) and max(c, i) values for all cardinalities (rows) and interval classes (columns). 4, and 6; and 3) those which are products of i-cycles 3 and 6. All...
Journal Article
Journal of Music Theory (1 April 1999) 43 (1): 21–82.
Published: 01 April 1999
... Schoenberg's Twelve-Tone Rhetoric.” Ph.D. dissertation, Harvard University. Kurth, Richard. 1996 . “Dis-Regarding Schoenberg's Twelve-Tone Rows: An Alternative Approach to Listening and Analysis for Twelve-Tone Music.” Theory and Practice 21 : 79 -122. Lewin, David. 1977 . “A Label-Free...
Journal Article
Journal of Music Theory (1 April 2005) 49 (1): 45–108.
Published: 01 April 2005
... display- ing the set-classes in tiers, with voice-leading connections both within a tier and between tiers. The tiers consist of rows and columns and are them- selves gathered into stacks, which combine to form complexes of stacks. In this way, a five-dimensional space that contains set-classes of...
Journal Article
Journal of Music Theory (1 April 2014) 58 (1): 57–65.
Published: 01 April 2014
... (both 1920–23), when he was exploring the techniques of “working with tones of the motive” and composing his first pieces using ordered twelve-tone rows. In line with Die glückliche Hand, op. 18, and in contrast to his earlier approach with pieces like op. 11...
Journal Article
Journal of Music Theory (1 October 2017) 61 (2): 201–242.
Published: 01 October 2017
... box, the twelve-tone row is partitioned into six base subsets, labeled a through f. This partitioned row is reproduced in Figure 2, where the lowest note of each base subset, shown as a whole note, is interpreted as an anchor note, giving a first indication of the functional role of register...
Journal Article
Journal of Music Theory (1 April 2010) 54 (1): 1–4.
Published: 01 April 2010
... how bor- rowing allows the writer/composer to be simultaneously disclosed and dis- simulated. Dmitri Tymoczko (taking a page from Cavell himself) weaves together criticism and autobiography, offering a series of reflections about...
Journal Article
Journal of Music Theory (1 October 2016) 60 (2): 263–279.
Published: 01 October 2016
... seemingly foreign to the source row; these lead in turn to an intensification of the original problem or to related problems, or both; and at or near the end, the non-symmetrical configurations or foreign intervals or sets are shown definitively to...