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Journal Article
Journal of Music Theory (2002) 46 (1-2): 1–56.
Published: 01 October 2002
...Norman Carey ON COHERENCE AND SAMENESS,
AND THE EVALUATION OF
SCALE CANDIDACY CLAIMS
Norman Carey
I. Pitch-Class Sets and Musical Scales
We begin with a view of the universe of pitch classes in 12-tone equal
temperament...
Journal Article
Journal of Music Theory (2000) 44 (2): 381–450.
Published: 01 October 2000
... vols. in 4). Hildesheim: G. Ohms, 1974, vol. 2 and 4 (music). Zaslaw, Neal, ed. 1996 . Mozart's Piano Concertos: Text, Context, Interpretation. Ann Arbor: University of Michigan Press. THE LARGE-SCALE FORMAL ROLE
OF THE SOLO ENTRY THEME IN THE
EIGHTEENTH-CENTURY CONCERTO...
Journal Article
Journal of Music Theory (2004) 48 (2): 219–294.
Published: 01 October 2004
... Music. New Haven: Yale University Press. Holdsworth, Allan. 1993 . Just for the Curious . Miami: Warner. Howat, Roy. 1983 . Debussy in Proportion. New York: Cambridge. Huron, David. 1994 . “Interval-class content in equally tempered pitch-class sets: Common scales exhibit optimum tonal...
Image
in Approximate Set Theory: Chord Categories, Voicings, and Interval Cycles
> Journal of Music Theory
Published: 01 April 2023
Figure 5.4. In a seven-tone scale, the M2 transform sends clusters to tertian, tertian sets to quartal, and quartal to cluster. The equipollent set-classes (open note heads = trichord, closed note heads = tetrachord) are preserved under the transform.
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Image
in Approximate Set Theory: Chord Categories, Voicings, and Interval Cycles
> Journal of Music Theory
Published: 01 April 2023
Figure 6.3. Comparing the different categorization systems: chunking, concrete scale, and equiheptatonic (7tet).
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Image
in Approximate Set Theory: Chord Categories, Voicings, and Interval Cycles
> Journal of Music Theory
Published: 01 April 2023
Figure 8.3. Barry Harris alternating between 0246 tetrachords of an eight-note scale, each decorated with an appoggiatura. The example comes from Bicket 2001 .
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Journal Article
Journal of Music Theory (2005) 49 (2): 333–357.
Published: 01 October 2005
... . “Interval Cycles in Alban Berg's String Quartet Opus 3.” Theory and Practice 14–15 : 139 –78. Porter, Lewis, Michael Ullman, and Edward Hazell. 1993 . Jazz: From Its Origins to the Present . Englewood Cliffs, NJ: Prentice-Hall. Pressing, Jeff. 1984 . “Towards an Understanding of Scales in Jazz...
Journal Article
Journal of Music Theory (2011) 55 (1): 147–153.
Published: 01 April 2011
...Deborah Mawer Reviews
Sylvia Kahan
In Search of New Scales: Prince Edmond de Polignac, Octatonic Explorer.
University of Rochester Press, 2009: xiv+389 pp.
($75.00 cloth)
Deborah Mawer
Octatonic theory has a commonly...
Journal Article
Journal of Music Theory (2014) 58 (2): 179–233.
Published: 01 October 2014
... : Michigan State College Press . Callender Clifton Quinn Ian Tymoczko Dmitri . 2008 . “ Generalized Voice-Leading Spaces .” Science 320/5874 : 346 – 48 . Carey Norman Clampitt David . 1989 . “ Aspects of Well-Formed Scales .” Music Theory Spectrum 11/2 : 187 – 206...
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in Approximate Set Theory: Chord Categories, Voicings, and Interval Cycles
> Journal of Music Theory
Published: 01 April 2023
Figure 7.6. Tertian and near-tertian hexachords contained in the Pressing scales.
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Journal Article
Journal of Music Theory (2015) 59 (2): 273–320.
Published: 01 October 2015
...José Oliveira Martins The article proposes that a construct I call the Dasian space provides an effective framework to interpret harmonic aspects of scale relations in twentieth-century polymodality, particularly in the music of Bartók. Based on Bartók's intuition that the pitch space modeled after...
Journal Article
Journal of Music Theory (2020) 64 (2): 241–281.
Published: 01 October 2020
...Nathan L. Lam This article develops the notion of modal spelled pitch class by combining Julian Hook’s theory of spelled heptachords and Steven Rings’s heard scale degree. Modal spelled pitch class takes the form of an ordered triple that includes the key signature, the generic pitch classes...
Journal Article
Journal of Music Theory (2016) 60 (2): 181–212.
Published: 01 October 2016
..., for instance, a rising whole-tone scale (an interval 2-cycle) simultaneously with a rising chromatic scale (an interval 1-cycle). This article extends beyond prior discussions of aligned cycles by exploring the different combinations and rotations of these cyclic structures and investigates how...
Journal Article
Journal of Music Theory (2018) 62 (1): 85–118.
Published: 01 April 2018
... is a complex and multifaceted phenomenon, a feature true especially of Sibelius’s later compositions. Sibelius’s tonal practice in Tapiola is based neither on first-practice functional harmony nor on second-practice triadic chromaticism but rather on the use of distinct scale collections and their interaction...
Journal Article
Journal of Music Theory (2016) 60 (2): 213–262.
Published: 01 October 2016
... proposes the use of phase spaces and Quinn's harmonic qualities in analysis of a wide variety of twentieth-century styles. The main focus is on how these ideas relate to scale-theoretic concepts and the repertoires to which they are applied, such as the music of Debussy, Satie, Stravinsky, Ravel...
Image
in Approximate Set Theory: Chord Categories, Voicings, and Interval Cycles
> Journal of Music Theory
Published: 01 April 2023
Figure 4.3. The five basic voice-leading transformations: transposition along an extrinsic scale, transposition along the intrinsic scale, neo-Riemannian voice leadings, normal-form preserving perturbations (not needed when chords are TI-related), and the small voice exchange c 0 that swaps
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Image
in Approximate Set Theory: Chord Categories, Voicings, and Interval Cycles
> Journal of Music Theory
Published: 01 April 2023
Figure 1.1. Close-position, open-position, “drop-2,” and “drop-3” voicings expressed as patterns of steps along the intrinsic scale.
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Image
in Approximate Set Theory: Chord Categories, Voicings, and Interval Cycles
> Journal of Music Theory
Published: 01 April 2023
Figure 5.6. Comparing the three different classification systems: chunking, concrete scale, and equiheptatonic (7tet). Tetrachords are aligned spatially within each row.
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Journal Article
Journal of Music Theory (2019) 63 (1): 1–34.
Published: 01 April 2019
... can clarify large-scale tonal relations. Copyright © 2019 by Yale University 2019 rock harmony modality harmonic function tonicization Works Cited Agmon Eytan . 1995 . “ Functional Harmony Revisited: A Prototype-Theoretic Approach .” Music Theory Spectrum 17 , no. 2...
Journal Article
Journal of Music Theory (2023) 67 (1): 1–70.
Published: 01 April 2023
...Figure 5.4. In a seven-tone scale, the M2 transform sends clusters to tertian, tertian sets to quartal, and quartal to cluster. The equipollent set-classes (open note heads = trichord, closed note heads = tetrachord) are preserved under the transform. ...
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