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in Feeling Meter: Kinesthetic Knowledge and the Case of Recent Progressive Metal
> Journal of Music Theory
Published: 01 October 2021
Example 12. Backbeat schema for the second riff of “Someone to Save” (0:40–1:02).
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Published: 01 October 2022
Figure 1. Modification of Lowe's (2003) schema of interpretation as mediator between analysis and performance.
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Journal Article
Journal of Music Theory (2013) 57 (1): 47–85.
Published: 01 April 2013
...John Paul Ito This article extends existing approaches to hypermeter by introducing schemas that make measure-by-measure correlations between grouping units and hypermeasures. These schemas offer an account of how listeners track hypermeter through irregularities and discontinuities. In order...
Journal Article
Journal of Music Theory (2015) 59 (1): 1–61.
Published: 01 April 2015
... characterize in terms of a core vocabulary of fifteen melodic formulas. Appendix 1 presents a roster of these formulas, which captures a unique fingerprint of recitative, distinct from the comparable inventory of homophonic phrase schemas in Robert Gjerdingen’s Music in the Galant Style . These recitative...
Journal Article
Journal of Music Theory (2010) 54 (2): 179–234.
Published: 01 October 2010
... in Guillaume de Machaut's nineteen three-voice motets. Building initially upon Sarah Fuller's work, the proposed schema introduces a more nuanced approach to categorizing the intervallic content of consonant and dissonant sonorities. Moreover, by calling attention to the outer voices of certain sonority types...
Journal Article
Journal of Music Theory (2010) 54 (1): 107–120.
Published: 01 April 2010
... modernism. Cavell's commitment to intentions, his frustration with the preponderance of precompositional schema sustained by rationalized composition, and his preoccupation with the practice of criticism lead him to develop a humanist metaphysics built around the responsibility of third parties to determine...
Journal Article
Journal of Music Theory (2018) 62 (1): 41–84.
Published: 01 April 2018
... a learned model or historical schema. When galant schemata are reconstructed as responses to input from the Rule of the Octave, top-down constraints are revealed. These constraints limit the choice of local soprano strings, relating the schemata to aspects of formal function. The article also speculates...
Journal Article
Journal of Music Theory (2000) 44 (2): 323–379.
Published: 01 October 2000
... such phe-
nomena as cause and effect, motion, force, energy, and balance through
the ways in which they play a part in our own goal-directed actions. This
learning is captured in the form of patterns that Johnson calls image
schemas. According to Johnson, we use image schemas to make sense of
our...
Journal Article
Journal of Music Theory (2006) 50 (2): 277–290.
Published: 01 October 2006
... patterns or sche-
mata. Each schema is defined as a cluster of features, which normally include
scale-degree patterns in the melody and bass, a harmonic progression, and
Journal of Music Theory 50:2, Fall 2006
DOI 10.1215/00222909-2008-018 © 2009 by Yale University 277
278...
Journal Article
Journal of Music Theory (2016) 60 (2): 97–148.
Published: 01 October 2016
... example for this section is a very different kind of theory of
parametric correlation—one whose name I will adopt for parametric cor-
relation in general—Robert O. Gjerdingen’s schema theory. Gjerdingen iden
14 raham G G. Hunt (2014), writing about the related phe...
Journal Article
Journal of Music Theory (2017) 61 (1): 141.
Published: 01 April 2017
... Sherrill and Matthew Boyle for their
article “Galant Recitative Schemas,” which appeared in volume 59 of JMT.
The selection committee issued the following citation:
Some of us might have a tendency to drift off during those “notoriously formu-
laic” recitative passages especially within...
Journal Article
Journal of Music Theory (2019) 63 (2): 261–267.
Published: 01 October 2019
... major aural qualities of rock harmony: function, schema, transformation, and ambiguity (8). The first two chapters cover function, as well as enumerate (and sometimes clarify) most of the funda- mental terms and definitions used throughout the book. Chapters 3 and 4 discuss schema, an important aspect...
Journal Article
Journal of Music Theory (2021) 65 (1): 81–106.
Published: 01 April 2021
.... Example 1. “Les Spectacles” (La Cuisse, feuille 34), first strain and its expansion at the end of the second strain. Example 1 presents a realization of Table 5 's hypermetrical schema in a tune from the La Cuisse collection. The first strain of the tune reappears at the end of the second strain...
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Journal Article
Journal of Music Theory (2007) 51 (1): 85–135.
Published: 01 April 2007
... primarily upon the music master. (Kassler 1972,
218–19)
90 Journal of Music Theory
Figure 1. The traditional European schema for drawing a three-dimensional face, shown in
three positions
The art historian E. H. Gombrich has written...
Journal Article
Journal of Music Theory (2011) 55 (2): 253–264.
Published: 01 October 2011
... begins with an overview of the basic principles of
poetic meter and rhythm—principles that are foundational for the whole
book and that underlie what is surely its single most innovative idea: what
Malin calls the declamatory schema, which shows exactly how poetic lines of a
given meter...
Journal Article
Journal of Music Theory (2022) 66 (2): 262–272.
Published: 01 October 2022
... lesson we recognize the schemas, but they are always different and increasingly complex. The interest in the methodology of the old conservatories (especially partimento, solfeggio, and their French correspondents) is not merely a historical curiosity for something old-fashioned and therefore...
Journal Article
Journal of Music Theory (2021) 65 (2): 185–237.
Published: 01 October 2021
...Example 12. Backbeat schema for the second riff of “Someone to Save” (0:40–1:02). ...
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Journal Article
Journal of Music Theory (2010) 54 (2): 235–282.
Published: 01 October 2010
... alluded to two of them in the
course of my analysis.
First, the sense of a false caesura is typically provoked by a cognitive
schema of cadence or half cadence. Such a schema is defined not only by a
melodic formula but, above all...
Journal Article
Journal of Music Theory (2016) 60 (2): 281–294.
Published: 01 October 2016
... analyzing and interpreting songs (244).
From embodied cognition, Moore borrows image schemata, in particular the
containment schema, the balance schema (in its “twin-pan” version), and the
path schema, against which listeners can (will?) “perceive” songs. All...
Journal Article
Journal of Music Theory (2003) 47 (1): 125–154.
Published: 01 April 2003
..., with a phrase starting on the cadential
tonic (overlapping with the previous phrase); to my mind, however, this
grouping is clearly secondary to that implied by the melody.12
The numerous similarities between the themes in Examples 5, 6, and
7 suggest that what we are dealing with here is a kind of schema...
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