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Journal Article
Journal of Music Theory (2012) 56 (1): 53–86.
Published: 01 April 2012
...René Rusch Schubert’s Drei Klavierstücke , D. 946 (c. 1828, pub. 1868), raise several questions regarding their compositional genesis and editorial processes. Most peculiar is Schubert’s omission of an entire C section in A♭ major of what was originally to be a five-part rondo form (A–B–A–C...
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Published: 01 April 2021
Example 1. Formal sections of a salsa arrangement and their corresponding percussion complexes. This example combines information from Washburne 2008 : figures 6.1, 6.2, 6.3. In Washburne's notation, noteheads placed above and below the staff indicate an alternation of high- and low-pitched More
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Published: 01 April 2021
Example 8. Navigating clave flips in the final sections of Grupo Niche's “Cali pachanguero” (transcription from Simpson-Litke 2014 ). Example 8. Navigating clave flips in the final sections of Grupo Niche's “Cali pachanguero” (transcription from Simpson-Litke 2014). 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 (2009) 53 (2): 227–254.
Published: 01 October 2009
...Dmitri Tymoczko Taking David Lewin's work as a point of departure, this essay uses geometry to reexamine familiar music-theoretical assumptions about intervals and transformations. Section 1 introduces the problem of “transportability,” noting that it is sometimes impossible to say whether two...
Journal Article
Journal of Music Theory (2019) 63 (1): 35–70.
Published: 01 April 2019
... modifies the prototypical big-band arrangement by merging the solo section with the ensemble feature, resulting in a trademark “Solo-Recapitulation trajectory,” which creates a deep-level structure comprising three “Spaces.” “Space division criteria” capture how broad expectations for jazz performance...
Journal Article
Journal of Music Theory (2006) 50 (2): 143–179.
Published: 01 October 2006
... these composers with one among a number of integrative strategies to counterbalance the threat of self-contained lyricism in the middle sections of their tripartite expositions. In one type of expositional context, this integration involves harmonic linkage designed specifically to efface a formal boundary...
Journal Article
Journal of Music Theory (2008) 52 (2): 251–272.
Published: 01 October 2008
... to quantify similarity of interval content. The first section of the article shows how to find the minimal voice leading between chord types or set-classes. The second uses voice leading to approximate the results of Quinn's Fourier-based method. The third section explains how this is possible, while...
Includes: Supplementary data
Journal Article
Journal of Music Theory (2008) 52 (2): 273–320.
Published: 01 October 2008
... reflected in the hexatonic organization of mm. 1–67, in the A section's stormy chromatic transitions, and in the cadential gestures that permeate the B section and coda. Yale University 2008 Brent Auerbach is assistant professor of music theory at the University of Massachusetts Amherst...
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 (2022) 66 (1): 63–91.
Published: 01 April 2022
... century (ca. 1830–70). In the first section, the characteristics of the three individual traditions are discussed separately. The second section compares these traditions from three perspectives: theoretical framework, pedagogical approach, and historical legacy. Although the traditions are different...
FIGURES
Journal Article
Journal of Music Theory (2007) 51 (2): 277–332.
Published: 01 October 2007
... the opening section of Gérard Grisey's Partiels , and to investigate the structural properties underlying the Z-relation (part of ongoing research with Rachel Hall). 2007 2007 Amiot, Emmanuel. 2007 . “David Lewin and Maximally Even Sets.” Journal of Mathematics and Music 1/3 : 1 -14. Buchler...
Journal Article
Journal of Music Theory (2019) 63 (2): 167–207.
Published: 01 October 2019
... -, and OP -spaces of two- and three-note chords. The final section of the study shows that, although the discrete mod-7 versions of these lattices appear quite different from their continuous mod-12 counterparts, the topological space underlying each of these graphs depends solely on the number of notes...
Journal Article
Journal of Music Theory (2019) 63 (2): 209–229.
Published: 01 October 2019
... interpretations of formal drama and the plotting of narrative. The central analytic section of the article presents a taxonomy of six compositional strategies for making tonal alterations: alterations in silence, immediate alterations, thick alterations, multiple alterations, alterations without adjustment...
Journal Article
Journal of Music Theory (2009) 53 (1): 57–94.
Published: 01 April 2009
... and dissonance are proposed, including a distinction between two types of intensification processes (graduated and terraced). Paderewski's performance practices are shown to greatly enhance (or even to introduce) intensification processes that span entire phrases or sections, and to highlight the arrival...
Includes: Supplementary data
Journal Article
Journal of Music Theory (2001) 45 (1): 119–143.
Published: 01 April 2001
... recapitulations, however, begin away from the tonic and yet are not cast simply as transpositions of their expo- sition’s key plan. In some of these works, a duplication of that plan does appear to have some role, but it is confined to only a section of the reca- pitulation; in others, it plays no part at all...
Journal Article
Journal of Music Theory (1999) 43 (2): 257–281.
Published: 01 October 1999
... This performance includes “Night and Day” in a larger formal structure. In discussing “Night and Day,” I will refer to the sections of its form as follows: (1) the verse (not performed); (2) section A1 (mm. 1–8); (3) section A2 (mm. 9–16), the “chromatic descent;” (4) section A1′ (mm. 17–24), a modified repeat...
Journal Article
Journal of Music Theory (2006) 50 (1): 103–110.
Published: 01 April 2006
.... The arrangement of key sections (a key section being an instantiation of a key over a span of music) and the relationships between them might be described as the key structure of the piece. As well as seeking to shed some analytical light on Bach’s chorale prelude, I have a larger agenda here, which...
Journal Article
Journal of Music Theory (2000) 44 (2): 451–485.
Published: 01 October 2000
... in which the I–V motion of the opening formal section is later enlarged and modified in the two works, and specifically how it operates in deep middleground. The subdivision of the filled-in I–V motion occurring at deep levels often plays a crucial role in a work’s formal organization and its division...
Journal Article
Journal of Music Theory (2005) 49 (2): 241–275.
Published: 01 October 2005
...-two–bar AABA song form. Example 1 shows features common to Evans’s settings of the first A section and of the bridge. The first A section begins with a distinctive motto. This motto is transformed into an ascending–seventh- chord arpeggio in mm. 3 and 5. The bass descends by half-step on two...