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segment

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Journal Article
Journal of Music Theory (2001) 45 (2): 345–433.
Published: 01 October 2001
... Music Theory Society of New York State and New England Conference of Music Theorists , New Haven, Connecticut ( April ). Hasty, Christopher. 1981 . “Segmentation and Process in Post-Tonal Music.” Music Theory Spectrum 3 : 54 -73. Hermann, Richard. 1993 . “ A General Measurement for...
Journal Article
Journal of Music Theory (2015) 59 (1): 183–190.
Published: 01 April 2015
...C. Catherine Losada REVIEW Dora A. Hanninen A Theory of Music Analysis: On Segmentation and Associative Organization University of Rochester Press, 2012: xii+530 pp. ($85.00 cloth) C. Catherine Losada As much as the field of...
Journal Article
Journal of Music Theory (2000) 44 (1): 171–229.
Published: 01 April 2000
.... ———. 1997 . “On Association, Realization, and Form in Richard Swift's Things of August.” Perspectives of New Music 35 (1): 61 -114. Hasty, Christopher. 1981 . “Segmentation and Process in Post-tonal Music.” Music Theory Spectrum 3 : 254 -73. Hook, Julian L. 1998 . “Rhythm in the Music of...
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 (2008) 52 (2): 273–320.
Published: 01 October 2008
...Brent Auerbach Tiered polyphony describes segments of music that manifest rhythmic/metric layering (Lester 1986) in the presence of polyphony. This texture, though a hallmark of the baroque era, is capable of generating a variety of musical effects over many style periods. This article establishes...
Journal Article
Journal of Music Theory (2013) 57 (1): 87–118.
Published: 01 April 2013
... of each segment, phrase, and period), cadential hemiolas emerge as consonant agents, in the large rhetorical scheme of things. These hemiolas, which intensify the end-accented beats, assert the notated meter, not the metrical displacement. In so doing, they either reinforce the basic metrical premise...
Journal Article
Journal of Music Theory (2016) 60 (1): 23–50.
Published: 01 April 2016
... entails, however, often yields counterintuitive and inconsistent results when comparing contour segments (csegs) of different cardinalities. In some instances, it falsely implies that an expansion or contraction of contour space has transpired. In other cases, it grossly misrepresents the phenomenological...
Journal Article
Journal of Music Theory (2018) 62 (2): 165–204.
Published: 01 October 2018
... Cantata, op. 31 (1943): (1) the structural composition of complete cycles, including their length, the segmental invariances they produce, and their interaction with Hildegard Jone’s texts; (2) the primitives, potentialities, and surface articulations of aligned cycles, both synchronous and asynchronous...
Image
Published: 01 April 2021
Figure 4. Plots showing (a) the dancers' libration curves, (b) the vertical acceleration of the dancers' libration curves, and (c) the vertical acceleration of the fiddler's foot stamping. All three are chunked into segments of two measures and plotted on the same graph. The dancers' libration More
Journal Article
Journal of Music Theory (2001) 45 (2): 435–456.
Published: 01 October 2001
... thing—by the individual sounds they generate. But individual sounds are secondary in Penderecki’s music. In his pieces based on the timbre system the elementary unit is a set of sounds, which I will call a segment. Sound phenomena contained in one timbral segment can be identical or different, in...
Journal Article
Journal of Music Theory (2004) 48 (2): 147–218.
Published: 01 October 2004
... close with some thoughts on categories, levels of music analysis, and inter-level relations among categories, seg- ments, and criteria for segmentation. First, a word on context, terminology, and application of the ideas herein. Association, categories, and categorization play such an impor...
Journal Article
Journal of Music Theory (2004) 48 (2): 355.
Published: 01 October 2004
... Theory of Segmentation and Associa- tive Organization for Music Analysis for the University of Rochester Press. Mark McFarland is Assistant Professor of Music Theory at the Georgia State University School of Music. Danuta Mirka is Senior Lecturer in Music at the University of Southampton. In...
Journal Article
Journal of Music Theory (2021) 65 (1): 11–16.
Published: 01 April 2021
... structures are frequently coterminous. Phrase segments often begin on downbeats and end just before the next downbeat. Consider “| Frère Jacques | Frère Jacques | Dormez vous? | Dormez vous? |” The vertical lines that separate the rhythmic phrases are also the bar lines that precede and mark the locations of...
Journal Article
Journal of Music Theory (1999) 43 (2): 349–358.
Published: 01 October 1999
...- based+ collection [0126] which appears segmentally in rows 2,3,4.8 While the retrograde invariance of row 1 was noted by Berg himself, pitch-classes: intervals sums 1P5: 5409728136AB B89A7 6 52341 94949 A 94949 2P5: 5406728139AB B86 17 6 52611 94619 A 94079...
Journal Article
Journal of Music Theory (2013) 57 (2): 419–431.
Published: 01 October 2013
...) and Jean- Jacques Nattiez (1975), involves segments that are nested but not overlapping. Bases for inclusion in a segment include contrast as well as “patterns and repetitions that have beginnings and endings,” and, according to Tenzer, the music...
Journal Article
Journal of Music Theory (2007) 51 (1): 51–83.
Published: 01 April 2007
... As a result, chromatic motions either avoid touching the diatonic semi- tones, confining themselves to a portion of the octave (the longest segment is a 3–ˆ 6 or exhibit irregular alternations of fifths and sixths. Example 9 shows...
Journal Article
Journal of Music Theory (1999) 43 (1): 21–82.
Published: 01 April 1999
..., discussing methodological matters relevant to how par- titions and their meets and joins can be used to model the segmentation of musical textures. Section 5 briefly demonstrates how any collection of 21 partitions can be partially ordered, using...
Journal Article
Journal of Music Theory (2013) 57 (1): 131–149.
Published: 01 April 2013
... formal segmentation—these define the musical discourse. In fact, he proudly proclaims, “there is no recourse to biography or other external information at this level of analysis, only an understanding of the possibilities of manipulating the language” (33–34...
Journal Article
Journal of Music Theory (2005) 49 (2): 209–239.
Published: 01 October 2005
... syncopation are gone, however, replaced by regular eighth notes and a rising diatonic line E–F–G–A–B≤. Two sequential repetitions in phrase E suggest brief hemiolas, made explicit above the example. Initially, Adderley repeats two diatonic scale segments through a fifth, ascending first to B...
Journal Article
Journal of Music Theory (2020) 64 (1): 63–103.
Published: 01 April 2020
... descend- ing-fifths sequence. The pattern is sufficiently clear that the sequence could, if desired, be extended indefinitely, far beyond the eight chords shown. The same progression may be segmented instead into four-chord blocks, as shown at the bottom of the figure. Each of these larger blocks...