Skip Nav Destination
Close Modal
1-20 of 176 Search Results for
scale collections
Follow your search
Access your saved searches in your account
Would you like to receive an alert when new items match your search?
1
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 (2015) 59 (2): 273–320.
Published: 01 October 2015
... his notion of polymodal chromaticism retains integral “diatonic ingredients,” the Dasian space (named after the medieval homonymous scale) establishes a system of relations between all potential diatonic segments, without relying upon traditional constraints, such as complete diatonic collections...
Journal Article
Journal of Music Theory (2016) 60 (2): 181–212.
Published: 01 October 2016
... these permutations create different families of harmonies. In particular, this article focuses on three-voice aligned cycles. I show how the different combinations, alignments, and rotations of the individual voices of an aligned cycle create a unique collection of aligned-cycle classes and, at a more large-scale...
Journal Article
Journal of Music Theory (2016) 60 (2): 213–262.
Published: 01 October 2016
... for the twentieth
century based on the intervallic content of pitch-class collections. This article 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...
Journal Article
Journal of Music Theory (2023) 67 (1): 1–70.
Published: 01 April 2023
..., or some other scale. It is also a feature of twelve-tone music, which emphasizes rigid transformations of ordered collections. 2 It is even characteristic of approaches that group sets into larger categories or genera. Ian Quinn ( 2001 ) has surveyed a range of such classification schemes, showing...
FIGURES
| View All (53)
Journal Article
Journal of Music Theory (2004) 48 (2): 295–324.
Published: 01 October 2004
....
314
“Brouillards” represents a different facet of Debussy’s handling of
stratified form. It shares several characteristics with “Ondine,” including
the containment of each musical line within a distinct scale collection, a
strengthening of interlock by way of a motion from harmonic ambiguity...
Journal Article
Journal of Music Theory (2004) 48 (2): 219–294.
Published: 01 October 2004
... . Rahn, Jay. 1991 . “Coordination of Interval Sizes in Seven-Tone Collections.” Journal of Music Theory 35 : 33 -60. Rappaport, David. 2006 . “Musical Scales, Integer Partitions, Necklaces, and Polygons.” Proceedings of the 2006 Bridges Conference on Mathematical Connections in Art, Music...
Journal Article
Journal of Music Theory (2005) 49 (2): 333–357.
Published: 01 October 2005
...: the diatonic collection and the acoustic collection, the acous-
tic collection being another ordering of the ascending melodic minor
scale.14 An example of both of these collections appears in Example 7a.
341...
Journal Article
Journal of Music Theory (2013) 57 (1): 159–191.
Published: 01 April 2013
... with no obvious scale. Tymoczko often
plots them on lattices that make them appear to be close as a group, but the
actual successions in the music usually change the collections by more than
one semitone (325, 329–30, 335, 339). The music of Steve Reich receives spe...
Journal Article
Journal of Music Theory (2011) 55 (1): 147–153.
Published: 01 April 2011
... in Stravinsky’s Petrushka and the other prewar ballets into the later
nineteenth century, the octatonic collection is generally known as the
“Rimsky-Korsakov scale,” with reference to the first credited usage of alter-
nating whole- and half-tone steps in Rimsky’s Sadko (1867). Furthermore...
Journal Article
Journal of Music Theory (2014) 58 (2): 257–263.
Published: 01 October 2014
... of tonal
experience are fundamentally asymmetric; the asymmetry of the diatonic
collection, for instance, enables position finding that underlies scale-degree
perception in a given key; the very notion of the tonic itself, a tone to which
all others are referred and toward which all tonal motion...
Journal Article
Journal of Music Theory (2021) 65 (2): 375–386.
Published: 01 October 2021
... distribution in pop-rock overall. Because of the scale's inclusiveness, however, its analytic utility is limited; Temperley describes it as a “‘global’ scale for rock” (24), essentially a background collection of which most songs use subsets. Like most common scales in tonal music, the supermode and its...
Journal Article
Journal of Music Theory (2014) 58 (2): 179–233.
Published: 01 October 2014
... exotic) superchromatic universes,
the aim of this article is to apply it in a study of simpler (and more familiar)
subchromatic collections of tones. Triads, seventh chords, and, with a par-
ticular emphasis, heptatonic scales will be modeled as GTSs...
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 (2011) 55 (1): 1–41.
Published: 01 April 2011
.... Although most of Pärt’s pieces use diatonic scales, some do not,
so it is useful to have a model that does not require the collection to have
diatonic characteristics (such as maximal evenness, generation by fifth, or
two different step sizes). It also suggests that Pärt’s techniques are particular...
Journal Article
Journal of Music Theory (2020) 64 (2): 147–201.
Published: 01 October 2020
.... B4v B5v). Until the end of the seventeenth century, English musicians did not use the term scale to refer to a seven-note collection based on a referential tonic. Naming system, though a new coinage, is meant to reinforce the separation of solmization and signature from tonal center. Key...
Journal Article
Journal of Music Theory (2012) 56 (1): 1–52.
Published: 01 April 2012
....
ably, this procedure suffices to generate our second family of lattice. Thus,
the abstract graph in Figure 11 can be filled in by fifths, triads, or seventh
chords in the diatonic scale, and pentatonic or diatonic collections in the
chromatic scale, while...
Journal Article
Journal of Music Theory (2015) 59 (1): 121–181.
Published: 01 April 2015
...
exactly on any equal-tempered collection (other than a single pitch
class), but they will center on collections that are compact on the
circle of fifths, such as diatonic scales. For the C-major triad, the
peaks of ˆf5 center around...
Journal Article
Journal of Music Theory (2008) 52 (2): 251–272.
Published: 01 October 2008
...-Class Set Cartography: Relations between Voice-Leading Spaces and Fourier Spaces.” Journal of Music Theory 52 : 219 -49. Lewin, David. 1959 . “Re: Intervallic Relations between Two Collections of Notes.” Journal of Music Theory 3 : 298 -301. ———. 2001 . “Special Cases of the Interval...
Includes: Supplementary data
Journal Article
Journal of Music Theory (2020) 64 (2): 241–281.
Published: 01 October 2020
... of a diatonic scale, and the second element is a gpc. In Table 2 they are represented visually by a key signature and a note head in staff notation. No tonic is implied. 249Nathan L. Lam Schubert s Third Relations 11 What I call diatonic position Steve Larson (1993) calls diatonic-collection position and Thomas...
1
